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CDPHUGHT DEPOSED 



TEACHERS' MANUAL 



STORY HOUR READINGS 



FOURTH YEAR 
FIFTH YEAR 
SIXTH YEAR 



BY 



E. C. HARTWELL, M.A., M.Pd 

SUPERINTENDENT OF SCHOOLS 
BUFFALO, NEW YORE 




AMERICAN BOOK COMPANY 

NEW YORK CINCINNATI CHICAGO 

BOSTON ATLANTA 



D^ 13 



Copyright. 192Z by 
AMERICAN BOOK COMPANY 

All rights reserved 



PRINTED IN THE UNITED STATES OF AMERICA 



"aUl.««. 



PREFACE 

The object of this Manual is to conserve the teacher's 
time and energy by furnishing the information and peda- 
gogical helps needed in teaching the selections in the Story 
Hour Readings, Fourth, Fifth, and Sixth Years. It at- 
tempts to put in concise form the basic principles under- 
lying the teaching of reading; and, through suggestive 
lesson plans, devices, etc., to help the teacher apply these 
principles successfully. It includes biographical mate- 
rial ; sequential treatment of reading selections ; sugges- 
tive methods of correlation dramatization, memorization, 
and testing for speed and comprehension in silent reading ; 
and other plans and devices designed to be of service to 
the teacher in her preparation of the daily lesson. 

The suggestions in this Manual are based on the best 
modern thought in reading, but teachers should keep in 
mind that the lesson plans are merely suggestions. There 
is no one way of teaching reading. Any method is a good 
method if it trains the child to get quickly and easily the 
gist of what he reads, and at the same time develops an 
abiding love for reading. 



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in 2011 with funding from 
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CONTENTS 

PART I — THE TEACHING OF READING 
Kinds of Reading Ability .... 
Physical Factors in the Reading Process 
Silent and Oral Reading Compared 

Differences in the Reading Process . 

Relative Values in Different Grades 
Silent Reading 

Relation of Rate to Thought Getting 

Suggestions for Increasing Rate 

i. Speed drills .... 

2. Reading tests for speed and content 

3. Record keeping . ■ . 
Selections to be Used for Reading Tests 
Bibliography of Silent Reading Tests 
Good and Bad Habits of Silent Reading 
Types of Silent Reading . 
Value of Motivation 
Suggestions for Correlation 

1 . Geography and history 

2. Reference books 

3. Arithmetic 

4. Dramatization 

5. Oral reading . 

6. Appreciation 

7. Physical activities 

8. Written work 

9. Interest in outside reading 
Selections for Silent Reading . 



PAGE 

9 
9 
9 

10 
10 
11 
12 
12 
13 
13 
13 
16 

17 
18 

19 

20 
20 
21 
21 
21 
22 
22 
22 
22 
22 
22 
22 
23 



CONTENTS 



Oral Reading 

Why Read Orally . 
Essentials of Good Oral Reading 

Pleasing voice . . . , 

Good breath control 

Good enunciation and articulation 

Correct pronunciation . 

Good interpretation 



Causes of Poor Oral Reading . 

i. Lack of ideals .... 

2. Poor voice 

3. Lack of breath control . 

4. Slovenly enunciation and articulation 

5. Poor pronunciation 

6. Poor interpretation 
Suggestions for Securing Good Oral Reading 

1. Proper motivation 

2. Presentation of high ideals 

3. Interesting material and situation 

4. Voice culture .... 

5. Training in use of dictionary 

6. Help in interpretation . 

7. Individual help .... 
Prose Selections for Oral Reading . 

Dramatization 

Why Dramatize . . . . 

By-products of Dramatization 

How to Dramatize . 

Plan for Dramatizing "A Turkey for the Stuffing" (Fourth 
page 131) 

Selections for Dramatization 
Appreciative Reading .... 

Appreciation Defined . . . . . 



CONTENTS 



" {Fourth 



The Lesson for Appreciation 
Suggestions for Training in Appreciation 
Selections for Appreciative Reading 
Memorizing . . . 

General Suggestions .... 

How to Memorize . . . . . 
Plan for Memorizing "The Village Blacksmith 

page 217) 

Selections to be Memorized 

Word Study and the Use of the Dictionary 
Importance of a Wide Vocabulary . 
Suggestions for Increasing Vocabulary 

1. Class devices .... 

2. The child's own word book . 
Use of the Dictionary .... 
Suggestions for Training Children to Use the Dictionary 

Reading Outside of School 

Importance 

How to Stimulate Outside Reading 

1. Reading Clubs . . 

2. Home Reading Circle 

3. Book Period 

4. Card review 

5. Unfinished stories 

6. Current events .... 

Socializing and Vitalizing the Reading 

Use of Illustrative Material 

How to Use the Illustrations in the Book 
Posters and Booklets .... 

1. Class projects . 

2. Sources of material 

3. Selections to be illustrated by posters 



Year, 



PAGE 
41 
42 

43 

47 
47 
48 

49 
5i 
52 
52 
53 
53 
55 
55 
56 

58 
58 
58 
58 
59 
59 
59 
60 
60 

61 

62 
62 
62 
62 
63 
63 



8 CONTENTS 

PAGE 

Correlation op Reading wits Other Subjects ... 64 
Importance of Correlation . . . . . 64 

Methods of Correlation . . . . . . . .64 

1. Arithmetic . . . . '. . . .64 

2. Geography and history . . ". . . .65 

3. English . . .65 

4. Art . . . . : ■ 66 

5. Reference books 66 

General Suggestions . . . . . . .67 

Bibliography . 68 

PART II — SUGGESTED LESSON PLANS : FOURTH YEAR 69 
PART III — SUGGESTED LESSON PLANS: FIFTH YEAR . 141 
PART IV — SUGGESTED LESSON PLANS: SIXTH YEAR . 239 
PART V — PROGRAMS FOR SPECIAL OCCASIONS . . 329 



PART I — THE TEACHING OF READING 

KINDS OF READING ABILITY 

In order to teach reading effectively, teachers should 
have a clear understanding of the different purposes for 
which people read. 

The most common of these purposes is to get quickly 
and easily from the printed page the gist of what one 
wishes to know. This requires the ability to read for 
information, for direction, for summation. This ability 
is required in nearly all study, and is daily tested in the 
facility with which the pupil reads his texts in geography, 
history, physiology, and arithmetic. 

A second important purpose in reading is pleasure', 
through appreciation of the plot of a story, or beauty of 
thought and language, or vivid word pictures; this re- 
quires the ability to discover such literary excellences, 
and the faculty of enjoying them. A delight in good 
books and judgment in selecting them are among the best 
legacies which a pupil can inherit from his days in school. 

Specific training is needed to develop each of these dif- 
ferent types of ability. Lists of selections for training in 
each type, with suggestions for their treatment, are in- 
cluded in this Manual. 

PHYSICAL FACTORS IN THE READING PROCESS 

Recent studies and investigations show that the eye 
movements in reading are a succession of sweeps and 

9 



io THE TEACHING OF READING 

stops. The reading occurs only at the stops, or fixations, 
as they are called. The rate of reading depends upon 
the length of the eye sweep and the length of the pause 
at the fixation. Longer eye sweeps increase the reader's 
rate of reading and decrease eyestrain and fatigue. 

Finger pointing is absolutely fatal to the development 
of long eye sweeps. A good way to increase the length 
of the eye sweep is to expose, for an instant only, groups 
of words for the children to recognize. Cards with phrases 
written or printed on them are most easily managed, but 
phrases may be placed on the board and covered until 
the teacher is ready to use them. Make the period of 
exposure very short. Excellent material on eye sweeps 
and fixations may be found in the monographs by Gray, 
Judd, and others, published by the University of Chicago 
Press, and also in The Measurement of Silent Reading by 
Burgess. 

SILENT AND ORAL READING COMPARED 

Differences in the reading process. By " silent read- 
ing " we mean the single process of getting the thought 
from the printed page ; by " oral reading " we mean the 
getting and the giving of the thought from the printed 
page. Oral reading is, accordingly, a much more com- 
plex process than silent reading. Silent reading involves 
the recognition of the symbol — that is, the word — and 
the association of the word with the idea, or, as we say, 
" getting the thought." Oral reading involves the recog- 
nition of the symbol; the association of the word with 
the idea — getting the thought ; and the vocal utterance 



SILENT AND ORAL READING COMPARED n 

of the word. In other words, in silent reading we see the 
word and get the thought; in oral reading we see the 
word, get the thought, and speak the word — that is, trans- 
mit the thought to the audience. 

Another important difference between oral and silent 
reading is in the eye movements and fixations. In silent 
reading a good average reader makes from four to ten 
fixations per line, while in oral reading he makes from six 
to eleven. In silent reading he perceives from .93 to 2.53 
words at a glance, while in oral reading he perceives from 
.86 to 1.02 words at a glance. Owing to the fact that from 
30 per cent to 50 per cent more pauses are made in oral 
than in silent reading, we find that oral reading is approxi- 
mately 50 per cent slower than silent reading. 

There is also more variation in the rate in silent than 
in oral reading. For example, in a sixth grade we find 
that the rates in silent reading vary from 100 to 600 words 
per minute whereas the rates in oral reading vary only 
from 75 to 125 words per minute. 

Relative values in different grades. Below the fourth 
grade, children can utter words about as fast as they can 
recognize them. From the fourth grade on, the power 
of rapid recognition increases ; hence the need, from this 
grade on, of increasing the amount of silent reading in 
order not to retard speed. Oral reading retards the child's 
speed because it limits his rate of reading to his rate of 
utterance, and if it is used exclusively the child establishes 
the habit of reading only at the rate at which he can speak 
the words. The relative amounts of oral and of silent read- 
ing that should be given in each grade are loosely indi- 
cated by the diagram on the following page. 



12 



THE TEACHING OF READING 



In the fourth year, oral and silent reading should be 
given about equal attention. From the fifth year on, 
increased attention should be given to silent reading. 




An approximation of the relative amounts of oral and silent reading in the 
elementary grades. 

This does not mean, however, that oral reading should be 
neglected. As all study periods are silent-reading periods, 
much oral reading can and should be done in the class 
period in order that a proper balance between the two 
kinds be maintained. 



SILENT READING 

Relation of rate to thought getting. The chief end of 
silent reading is thought getting. Recent investigations 
have proved conclusively that thought getting is closely 
related to speed, — that the most rapid readers are also 
the best thought getters. Therefore, since rapid reading 
and quick thought getting are probably results of the same 
conditions, the first problem in the teaching of silent read- 
ing is to train the child to read rapidly. 



SILENT READING 13 

The following rates have been established by experiment 
as standard when the material used is of average difficulty 
for the grade : 

Grade IV, 160 words per minute, 

Grade V, 180 words per minute, 

Grade VI, 220 words per minute. 

Suggestions for increasing rate. 1. Speed drills. As 
rapid silent reading depends on length of eye sweeps and 
speed of observation during fixation pauses, plenty of 
speed drills should be given in which a conscious effort 
is made to increase speed. Use such devices as races 
between pupils or setting a time limit and seeing how many 
pupils can finish within the allotted time. Most impor- 
tant of all is the use of stimulating material. There is a 
natural tendency to increase the speed when the interest 
is great. In beginning to work for speed, easy material 
of the short narrative type should be used. Familiarity 
with the material also increases the rate. A good way to 
start is to borrow from the grade below a set of easy Readers 
and use them for a few days for speed drills. Have the 
children begin at a given signal. Use some device, such 
as a piece of paper, to cover the material until the signal 
is given. Direct the pupils to read for one minute, stop, 
mark the word on which they stopped, then finish the 
selection, reading just as rapidly as possible. Have the 
pupils count the number of words read in the minute. 
Give daily drills for several weeks, or until the children 
have gained the desired speed. 

2. Reading tests for speed and content. Selections used 
for tests should not have been read previously by the chil- 
dren. If those listed herein have been read, select others. 



i 4 THE TEACHING OF READING 

Have the children turn to the selection and then cover 
the page with a sheet of paper. At the signal " Read," 
direct them to read just as rapidly as they can and still 
get the thought. At the end of one minute call " Time." 
Have the children mark lightly the last word read in the 
minute. Then direct them to finish reading the selection 
as quickly as possible, close their books, and answer the 
questions on the board. After the questions have been 
answered, have the children open their books and count 
the number of words they read in a minute. Let them 
place these numbers directly above their names, and with 
the number write the phrase containing the last word 
read, underlining that word. They may then carefully 
erase the mark from the book. The number of questions 
each child answers correctly is written above and at the 
right of his speed record. For example, 120 4 means that 
the child read 120 words per minute and answered four 
questions correctly. If his score is 160 2 , it means that 
the child is reading more rapidly than he can get the 
thought, and that he should be. slowed down; whereas a 
score of 90 5 means that the child is reading too slowly and 
should quicken his pace. 

If a child knows that he will be called upon to reproduce 
what he has read, it tends to slow down his rate. For 
this reason it may for a time be best not to lay too much 
stress on content. Point out to the children the advan- 
tage of being able to read rapidly. Before giving the sig- 
nal to begin reading suggest that the children see if they 
cannot read more rapidly to-day than they did yesterday. 
Direct them to read just as rapidly as they can without 
missing the meaning of what they are reading. 



SILENT READING 15 

As soon as the children have made definite gains in speed, 
begin to lay more stress upon content. Just when to 
begin working more specifically for content in addition to 
speed, will depend somewhat upon the class and their pre- 
vious training. Average classes ought to begin at least 
by the end of two weeks and even the slowest class ought 
not to be kept longer than four weeks on speed drills alone. 
There will necessarily be a little slowing up on rate when 
the children know that they will be held responsible for 
content, but this will soon be overcome. 

Speed drills should be limited to from one to three min- 
utes, depending on the age and ability of the class. In 
reading for speed and content, reproduction periods should 
alternate with the reading periods but not much over one 
fourth of the time should be spent in reproducing. In 
selections running from 400 to 500 words, children should 
be able to reproduce about 50 per cent of the ideas. 

The reader's failure to get the thought is frequently due 
to inattention to easily overlooked words, such as "-but," 
"if," " consequently," etc. Special drill should therefore 
be given upon these words. A good device is to use ellip- 
tical sentences and have the children supply the right 
word. This work should lead the children to see how 
using the wrong word entirely changes the meaning. 

It is most important that the children should not have 
read previously any of the selections which are to be used 
for silent reading. If the class is using the same book for 
oral and for silent reading, the teacher may collect the 
books at the end of each recitation, explaining to the chil- 
dren why she does not want them to read the other selec- 
tions at present. Most children will comply with such a 



i6 



THE TEACHING OF READING 



request if they know that there is a good reason for it and 
that they will have the opportunity of reading these selec- 
tions later. A list of selections for silent reading will be 
found on pages 23-25, Manual, and detailed suggestions 
for their use are included in Parts II, III, and IV of the 
Manual, under Lesson Plans. 

3. Record keeping. Keep the child's record where he 
can see his own growth from day to day and also compare 
his gain with that of other members of his class. The 
following method is suggested as an easy one : Give the 
members of your class permanent, numbers, and arrange 
a large sheet of cardboard or heavy drawing paper as 
shown below. 

Reading Record, Grade IV 

(Statidard rate, 160 words per minute) 



Child's 


Rate 
Mon. 
Sept. 9 


Tues. 


Wed. 


Thurs. 


Fri. 


number 


Sept. 10 


Sept. ii 


Sept. 12 


Sept. 13 


1 


90 5 










2 


115 










3 


96 










4 


130 3 . 










5 


120 4 










6 


130 










7 


105 










8 


no 










9 


125 










10 


120 










11 


8c 5 










Median 


ii5 











The figures at the right of the speed record indicate the 
number of questions answered in the content test. 



SILENT READING 17 

The median record is made as follows : 

Arrange the standings in order: 85, 90, 96, 105, no. 
115, 120, 120, 125, 130, 130. Eleven pupils were tested. 
There were five pupils who scored less than 115 and five 
who scored over that amount. Accordingly, 115 (the record 
of the sixth pupil in the list as rearranged according to 
standing) is the median record for the class. 

The class median gives us much more useful informa- 
tion about the individual readers than does the class aver- 
age. A class average may be high, owing to the presence 
of a few unusual readers, when many of the readers are 
really below normal; or it may be low, owing to a few 
very poor readers, when most of the class are really average 
readers. By using the median rating, the teacher knows 
just how many are above and how many are below the 
standing of the middle pupil. 

Using numbers instead of names is not only econom- 
ical but also avoids giving too much prominence either to 
the best or to the poorest readers. Encourage each child 
to compare his own record for the day with the standard 
for the grade, with the median record for the class, and 
with the records that are better than his own. Encourage 
the beating of one's own record each day. 

Selections to be Used for Reading Tests 
Fourth Year 



PAGE 



The Anxious Leaf 36 

Special Kinds of Farming (section on Dairying) 103 

Woo Sing and the Mirror 194 

Parable of the Wren 291 

The End of the Rainbow 327 

S.H.R. MAN. 4-5-6 — 2 



18 THE TEACHING OF READING 

Fifth Year 

PAGE 

A Forest on Fire 26 

Grace Darling 106 

The Old Scrap Box 159 

An Indian Camp 179 

The Swarming of the Bees 253 

Jarro, The Wild Duck (first section) 284 

Sixth Year 

The Spider's Telegraph Wire 38 

The Story of the Railroad 113 

Brothers of the World 139 

Christmas Eve in Norway 190 

The Skating Match (first section) 331 

At Valley Forge 383 

Bibliography of Silent Reading Tests 

Brown, H. A., "The Measurement of Ability to Read," page 57, 
Bulletin I, New Hampshire Department of Public Instruction, Bu- 
reau of Research, Concord, New Hampshire. 

Courtis, S. A., Courtis Standard Tests, Silent Reading Test No. 2. 
Detroit, Michigan. 

Kallom, Arthur A., "Standards in Silent Reading," Bulletin 
No. 12, School Document 18, iqi6, Boston Department of Educa- 
tional Investigation and Measurement, Boston. 

Gray, W. S., Reading Tests: Silent and Oral, University of Chi- 
cago, Chicago. 

Starch, D., Silent Reading Tests, University of Wisconsin, Madi- 
son, Wisconsin. 

Fordyce, Charles, A Scale for Measuring the Achievements in 
Reading, University Publishing Company, Chicago and Lincoln, 191 7 • 
Teachers College, University of Nebraska. 

Adams, William C, Silent Reading Tests, State Normal School, 
Plymouth, New Hampshire; Edward E. Rabb and Co., Boston. 

Thorndike, E. L., Thorndike's Scale Alpha for Measuring the 
Understanding of Sentences, Teachers College, Columbia University. 



SILENT READING 19 

Kelly, F. J., The Kansas Silent Reading Test, Bureau of Educa- 
tional Measurement, 191 5, Kansas State Normal School, Emporia! 

Monroe, W. S., Standardized Tests in Silent Reading, Bureau 
of Educational Measurement, Kansas State Normal School, Em- 
poria. 

Haggerty, M. E., and Noonan, M. E., Achievement Examination 
in Reading, World Book Company, Yonkers, N. Y. 

Picture Supplement Scales for Measuring Ability in Silent Reading, 
I, II, III, IV, V, Department of Education, Russell Sage Founda- 
tion, New York. 

Good and bad habits of silent reading. Good habits 
of silent reading depend on long rhythmical eye sweeps, 
quick observation at the fixation pauses, and association 
of the written word directly with the idea instead of with 
the spoken word. One of the greatest hindrances to rapid 
silent reading is the tendency to " inner speech," which 
involves movements of the tongue, vocal cords, lips, and 
larynx. Special attention should be given to eradicating 
this tendency. Explain to the children how all these 
movements are a hindrance instead of a help. Get them 
to cooperate in avoiding £,11 movements of lips, tongue, 
and vocal organs and train them not to attempt to pro- 
nounce each word. In the experiments which were carried 
on in silent reading under the auspices of the University 
of Illinois these directions were given to the children : 

"Read this selection as fast as you can. While reading do 
not move your lips or tongue. Do not pronounce the words to 
yourself, as that will cause you to read more slowly than you 
otherwise would. I want you to see how much you can read 

in minutes. But do not skip anything, as I am going to 

ask you to tell me about the story you have read. Try to 
read faster to-day than you did yesterday." 



20 THE TEACHING OF READING 

Types of silent reading. In his article on " Principles 
of Method in Reading," in the Eighteenth Yearbook of the 
National Society for the Study of Education, Dr. William 
S. Gray says : 

*" During the fourth, fifth, and sixth grades, pupils should 
be taught to understand selections of increasing difficulty and 
they should be trained to utilize reading ability in a variety of 
ways. In the judgment of the writer the reading exercises 
which are assigned during this period should be as varied in 
character as are the demands which are made upon the reader 
both in and out of school. The typical reader is called upon 
to utilize reading ability in a variety of ways. The following 
are illustrations : 

i. To read for the purpose of giving a coherent reproduc- 
tion; 

2. To determine the central thought or the most important 
ideas of a selection ; 

3. To select a series of closely related points and their sup- 
porting details ; 

4. To secure information which will aid in the solution of a 
problem or in answering questions^; 

5. To gain a clear comprehension of the essential conditions 
of a problem ; 

6. To discover new problems in regard to a topic ; 

7. To determine the lines of argument which support the 
point of view of the author ; 

8. To determine the validity of statements." 

Value of motivation. All reading should have a natural 
motive and should be done relative to that motive. There 
are almost as many types of silent reading as there are 
possible motives for it. A child's motive in reading a 

1 Used by permission of the Public School Publishing Company. 



SILENT READING 21 

selection may be the wish to retell its story, to dramatize 
it, to read it aloud to some other person or to the class, to 
select its central thought, to get some specific information 
from it, to make use of it in any definite way. Train chil- 
dren to read with the purpose of their reading clearly 
understood and constantly kept in mind. This is the 
fundamental principle underlying all study. 

Suggestions for correlation. 1. Geography and history. 
Make use of the geography, history, and other periods, 
to give special training in effective silent reading as an 
instrument of study. Set time limits and do not allow 
the children to dawdle. Have them read with one of the 
following purposes : 

(a) to select the central thought or main point ; 

(b) to make outlines for chapters ; 

(c) to make paragraph headings ; 

(d) to see if chapters or paragraphs are well named or 
to make better headings ; 

(e) to make up questions to cover main points ; 
(/) to find the answer to some specific question ; 

(g) to be able to make an oral or written report to 
others, either individually or by groups. 

Early in the year the teacher should find out the read- 
ing ability of her class. Give tests to determine the num- 
ber of words per minute that each child can read. Make 
lesson assignments on the basis of reading ability, as in- 
dicated by the averaged results of several of these tests. 

2. Reference books. Train the children to use supple- 
mentary books, dictionaries, and books of reference for 
the purpose of getting specific information with economy 
of time and effort. 



22 THE TEACHING OF READING 

3. Arithmetic. Give special work on reading problems 
in arithmetic and getting their conditions accurately. 
Have the children read the problem and then state the 
conditions concisely. Many failures in the solving' of 
problems are due to lack of ability to do this readily and 
accurately. 

4. Dramatization. When a story is to be dramatized, 
have the children read it to determine its dramatic value ; 
to decide on characters, scenes, action, etc., for its drama- 
tization ; and to find out what important ideas their play 
must convey to the audience. 

5. Oral reading. As a preparation for oral work, en- 
courage the children to read the selection silently so as to 
be able to read it intelligently and smoothly when called 
on in class. 

6. Appreciation. Have the children read for pleasure ; 
to discover favorite fines or stanzas or to select most beau- 
tiful scenes, best character sketches, or well-chosen words 
or phrases. 

7. Physical activities. Have the children read silently 
the directions for a game, an errand, or a problem and 
then do what is directed. 

8. Written work. As a preparation for original writ- 
ing, have the class read a good story, character sketch, 
or description. 

9. Interest in outside reading. Read part of a story 
to the class and then have them read the exciting part 
silently. Form reading clubs. (See page 58, Manual.) 
Have each child make a written report on some book that 
he has particularly enjoyed, for the use of other members 
of the class. 



SILENT READING 23 

Selections for Silent Reading 
Fourth Year 

PAGE 

Camping Out 13 

The Wonderful Waterfall 52 

The Children and the Dog 56 

A Dog's Own Story 69 

The Horse's Prayer to his Master 82 

The Grateful Elephant 94 

Special Kinds of Farming 103 

The Prudent Farmer 109 

Life on the Farm 114 

The Fir Tree 140 

How America W T as Discovered 151 

The Young Surveyor 162 

Abraham Lincoln's School Days 177 

Glooskap and the Frog Chief 196 

Greedy Fawn and the Porridge 202 

How Crusoe Made Pottery 213 

Your Newspaper Talks 220 

The Flax 225 

How the Pilgrims Lived 239 

In Old New York 243 

In Old Louisiana 247 

Old-Fashioned Telegraphs 251 

The Origin of Birds 273 

The First Robin 275 

In the Honeysuckle 283 

The Pirates of the Pond 315 

Andy Moore 319 

The Shipwreck 332 

Whittington and his Cat 339 

The King of the Golden River 352 

Fifth Year 

A Bold Sea-Rover . .'.... 19 

Obed's Pumpkins . 31 



24 THE TEACHING OF READING 



PAGE 



The Captive 36 

Putnam and the Wolf 41 

The Race to the Valley 45 

Golden Counsels 79 

The White Ship 93 

Out of the Wreck 112 

The Wrath of the Winds . 127 

The Indian's Dream 177 

Among the Indians 191 

Kwahu and Kwewe 199 

The Gift of Mondamin 203 

The Flight across the Lake 206 

Quick Service . . . 239 

Skiing 247 

Our Friend the Dog 265 

Wriggles 273 

A Big Project 280 

Jarro, the Wild Duck : 284 

Little Wolff and his Wooden Shoe 309 

In the Wilderness 326 

The Cunning Arab 347 

The Cadi's Decisions 350 

The First Printer 367 

The Makers of the Flag 394 

Sixth Year 

The Robber Crab 13 

Camping in the Winter Wilderness 20 

My Fight with Hands 52 

The Sunken Treasure 58 

I Find a Footprint . 72 

The Steamboat .116 

A Word about Cotton 120 

The Story of the Reaper 124 

Maple Sugar 135 

Pioneer Houses 148 



ORAL READING 25 

PAGE 

A True Hero 154 

The American Pioneer 161 

Traveling 166 

Armistice Day 179 

The Silver Ship 196 

The Arab and his Horse 222 

The Pine-Tree Shillings 241 

The Mice and the Weasels 272 

A Dutch Governor ' 275 

The Story of Lafayette 297 

Hospitality Rewarded 303 

The Sons of Feridoun 309 

Thor's Journey 313 

The French Children's Crusade 322 

A Child Crusader's Story . . 325 

How Calais Was Saved 327 

Letter to his Son 345 

Who Is the Happiest Man? 361 

A Golden Coppersmith 366 

The Man with his Hat in his Hand 373 

A Great Citizen 379 

A Creed of Americanism 392 

The Ark of the Covenant 394 

Qualities of Good Citizenship 397 

ORAL READING 

Why read orally. Beyond question we have in the past 
placed too much emphasis on oral reading as an end in 
itself, to the neglect of silent reading. There is danger 
at the present time, however, that we may swing to the 
other extreme and lay too much emphasis on silent read- 
ing to the neglect of oral reading. The ability to read 
well aloud will always be a valuable asset and should not 
be neglected. The uses of oral reading are as follows : 



26 THE TEACHING OF READING 

i . To give information to others ; 

2. To give pleasure to others ; 

3. To contribute to one's own enjoyment and pleasure; 
as, for instance, in the reading of poetry and musical prose. 

Essentials of good oral reading. Good oral reading is 
largely dependent on the following qualities or character- 
istics : 

1. Pleasing voice. The good reading voice is well mod- 
ulated and correctly pitched; neither too loud nor too 
soft, neither too high nor too low- 

2. Good breath control. Enough air should be taken into 
the lungs fully to support and sustain the tone, but not so 
much that it cannot be controlled. 

3. Good enunciation and articulation. This is shown in 
clear-cut initial consonants and endings, and in syllables 
clearly joined together. 

4. Correct pronunciation. 

5. Good interpretation. This involves first the ability 
to get the thought for one's self, and then the ability to 
emphasize and phrase it properly, so as to convey it clearly 
to the hearer. 

Causes of poor oral reading. Some of the most com- 
mon causes of poor oral reading are : 

1. Lack of ideals. The children hear relatively little 
oral reading except their own and the teacher's; if the 
latter's is faulty they have no sufficiently high standard 
by which to judge their own. 

2. Poor voice. The child reads either too loudly or else 
so low that he can be heard only with difficulty. Another 
common fault is the pitching of the voice either too high 
or too low. 



ORAL READING 27 

3. Lack of breath control. This may be due to inhaling 
more air than the reader is able to control, thus giving a 
breathy quality to the tone ; or it may be due to taking 
too little breath, so that the tone is thin and the reading 
breathless. 

4. Slovenly enunciation and articulation. These serious 
faults are due chiefly to indifference or laziness in using 
the vocal organs, particularly the lips. 

5. Poor pronunciation. The errors here fall into two 
classes : those due to lack of knowledge, and those due to 
carelessness. 

6. Poor interpretation. This is due to several causes. 
Lack of ability on the reader's part to get the thought for 
himself is probably the most common difficulty. The 
material may be too difficult, and the reader stumbles and 
halts. He may lack sentence sense and thus read past 
sentence endings or come to a full pause at the end of the 
phrase, etc. Lack of confidence in one's own ability, too, 
is frequently a cause of poor interpretation. Other common 
faults are the repetition of individual words or word groups, 
the omission of words, and the substitution of other words 
for those of the text. 

Suggestions for securing good oral reading. 1. Proper 
motivation. One of the most important factors in secur- 
ing good oral reading is proper motivation. In the ordi- 
nary school situation, the motive is often lacking. Few 
children are inspired to do their best oral reading when 
every other child in the room has his book open and is 
reading the material for himself. The following plans 
for supplying a motive are suggested : 

(a) Assign a different story to each row. Let each row 



28 THE TEACHING OF READING 

select its own leader and then prepare to read the story 
to the class. Make each group responsible not only for 
a good oral reading of the selection but also for the back- 
ground needed — meaning and pronunciation of unusual 
or difficult words, use of illustrations in the book and ad- 
ditional illustrations, and the assignment of a section for 
each child to read. Train the children to make the divi- 
sions according to thought groups in preference to para- 
graphs or pages. Let the good readers help the poorer 
ones to prepare their parts. The teacher should act as the 
adviser of each row and in general should manipulate the 
assignments so that the poorer readers shall have short, 
easy parts. * 

Create a friendly rivalry between the rows as to which 
shall read its story best. See that the good and the 
poor readers are about evenly distributed among the 
groups. 

After the selection has been read by the chosen row, let 
all the class open their books for the general discussion 
of the selection. Let the class criticize the reading as a 
whole, emphasizing the good features and making cour- 
teous suggestions as to what improvements might be made 
and how. At the close of the period allow time for each 
child to read the story silently and rapidly for himself. 

(b) Make use of morning exercises and holiday occa- 
sions to have children read to the other members of the 
class, to other classes, or to the school. (Part V, Manual.) 

(c) In the current-events periods, let the children in 
turn read short items to the other members of the class. 

(d) Have the class prepare a story to read to a lower 
grade. 



ORAL READING 29 

(e) Have the class prepare a story to read to their moth- 
ers, at a class-mothers' meeting. 

(/) Encourage " surprise programs." The writer saw 
excellent work in reading done in one fourth grade recently, 
through what the children called " surprise programs." 
Every child was expected to take part once a month. He 
was not to occupy more than four minutes. If his selec- 
tion took more than four minutes he must invite some one 
else to help him. Two children could not read longer 
than eight minutes; three, twelve minutes, etc. The 
children were left perfectly free to make their own selec- 
tions. Not even the teacher knew what was to be given. 
It was to be a real surprise to everybody. The last half 
hour each Monday was devoted to this program. On the 
day that the writer was present, the following program 
was given : 

1. Reading, "One, Two, Three," H. C. Bunner. 

2. Reading by four girls, "How the Pilgrims Lived." 

3. Reading by two boys, "Stories from Indian Life." 

4. Reading, A poem from St. Nicholas Magazine. 

The teacher was asked if the children did not occasion- 
ally contribute materials that were not worth while. She 
said : " No, not after the first week." When the first poor 
selection was given, the class talked over the question of 
whether they wanted to spend their time on such material, 
and they decided that they did not. She also reported 
that the parents took great interest in helping their chil- 
dren find interesting material and in training them to read 
it well. 

2. Presentation of high ideals. Another important factor 



3 o THE TEACHING OF READING 

in securing good reading is that the child should have 
a high ideal of what constitutes good oral reading. The 
teacher herself must be a good reader. She must make 
herself a model of all the virtues that go to make up good 
reading, and then she must read to the children. The 
teacher who is careless in her pronunciation or slovenly in 
her enunciation need never hope to secure good pronun- 
ciation and good enunciation from her pupils. 

3. Interesting material and situation. The teacher must 
arouse interest in oral reading and create a desire on the 
part of the class to read well. This can best be done first 
of all by giving the children interesting material to read 
and by creating many situations (see page 27, Manual) 
where good oral reading is needed. 

4. Voice culture. A good reading voice is possible for 
every child. If the voice is either too loud or too soft, ask 
the child to read just loud enough to be heard without dif- 
ficulty by the children in the rear of the room. Patient 
persistence is required until the habit of reading in a well- 
modulated voice is established. The same thing is true 
in regard to pitch. If the child is in the habit of pitching 
his voice either too high or too low, get him to sing as low 
as he can and then as high as he can. Find his lowest and 
his highest notes and then have him pitch his voice one or 
two tones below the middle of his range. If necessary 
use a pitch pipe to get him started correctly. 

The breath control of children is usually good. Only 
occasionally is there one who needs attention in this re- 
spect. Work with such children individually. 

5. Training in use of' dictionary. The most effective 
way of securing good enunciation and pronunciation is to 



ORAL READING 



3i 



make them popular. Help children to get the " diction- 
ary habit " early in life. Lead them to see how strangers 
judge us by our manner of speaking. In the matter of 
enunciation, drill on the sounds most often slighted will 
be of some help. In such drills, exaggerate distinctness 
until clear enunciation has become habitual. (For sugges- 
tive drills see Lewis's Oral English.) 

6. Help in interpretation. Good interpretation is largely 
a matter of getting the thought and then giving it in a 
natural manner. Where children fail to interpret well, 
question them for the thought, sentence by sentence ; 
having found out the thought for themselves in this way, 
they should be able to read so as to convey it clearly 
to others. 

7. Individual help. The question of what to do for the 
unusually poor reader is a difficult one. Find out, if pos- 
sible, just where the difficulty lies and then give individual 
help along that line. Encourage the poor reader to read 
many easy books. In one class there were five unusually 
poor readers. The teacher asked them to remain after 
school one evening and suggested that they form a little 
secret Reading Club. No knowledge of what they were 
doing was to reach the rest of the class. The idea appealed 
to the children. As this was a third-grade class, the club 
began by reading rapidly several easy Primers, then several 
First Readers, and then several Second Readers. They 
were able to read these easy Readers very rapidly. By 
the end of ten weeks they had made most remarkable 
gains and were able to read material of standard diffi- 
culty for their grade as well as or better than the average 
members of the class. 



32 THE TEACHING OF READING 

Prose Selections for Oral Reading 
Fourth Year 

PAGE 

Gigino Becomes an Ant 20 

The Magic Bowl 41 

The Wishing-Gate 59 

Raggles 78 

In Nutcracker Lodge 87 

The Thanksgiving Gifts 126 

A Thanksgiving Creed . . 136 

Two Little Americans 160 

The Coming of Seegwun 187 

The Ape and the Firefly 191 

Mother Purnell . 233 

Black Hawk's Farewell 256 

Adventures in Lilliput 264 

The Flight of the Thrushes 284 

A Brave Indian Girl 322 

Fifth Year 

A Greenwood Hunter 13 

Little Daffy-Down-Dilly 60 

The Four MacNicols 68 

To-Day or To-Morrow? 84 

The Courage That Wins 139 

The Quaker's Gift 147 

The Magic of Kindness 163 

Pleasing Everybody 171 

The Slayer of the Spotted Calf 182 

Calling a Boy in the Morning 231 

Graywings 258 

Eulogy on the Dog 271 

The Soldier's Reprieve 320 

The Selfish Giant 332 

The Minnows with Silver Tails 361 

Pandora 373 

Little Athens' Message . . . . .388 



DRAMATIZATION 33 

Sixth Year 



PAGE 



A Child's Visit to the Moon 26 

I Dig a Ditch 32 

Life in the Woods 42 

The Archery Contest 47 

Chased by Wolves 64 

Attacked by a Submarine 67 

At the Helm . . . 81 

A Story of Detroit 145 

A Tea Party 158 

Dedication of Gettysburg Cemetery 210 

The Youth Who Could Not Lie . . . 215 

The Cat's Pilgrimage 246 

King Robert of Sicily 257 

Moth and Rust 265 

The Kettle and the Cricket . . 286 

Big Business 291 

The Skating Match 331 

As Good as his Word 349 

John Maynard 356 

{All poems should be read orally) 
DRAMATIZATION 

Why dramatize. One of the best ways to develop con- 
fidence, spontaneity, and freedom of expression is through 
dramatization. In taking the part of some one else, in 
really becoming some other person for the time being, the 
child forgets himself, and through this self-forgetfulness 
he frees himself of many fetters that hamper or bind him 
in his oral reading. 

By-products of dramatization. In addition to the gains in 
oral reading there are many by-products of rightly con- 
ducted dramatization that are well worth while. Among 

S.H.R. MAN. 4-S-6 — 3 



34 THE TEACHING OF READING 

these are the development of initiative, of the ability to 
cooperate with others, and of a sense of responsibility. 
In all dramatization which is part of the reading work the 
teacher should always keep in mind that the chief purpose 
to be served is the development of the child, not the production 
of a finished play. Consistency in acting on this principle 
will have a marked influence on the selection of the cast. 

How to dramatize. In the work of dramatization, let 
the children do the work even though they do it crudely. 
First of all, let the children decide on the selection to be 
used. Lead them to see that it must be full of action if 
it is to be dramatized successfully. Let them read several 
selections silently and then compare them as to dramatic 
possibilities. After the choice is made, if there are other 
versions of the story available ask various children to read 
them, to see whether they contain any additional material 
or other differences that can be used to improve the drama- 
tization. Next let the class re-read the story silently, 
to select the different scenes. Let the children decide 
upon how many scenes, and what scenes, they will have and 
just what will take place in each. Then have them re-read 
again, if necessary, to decide what characters are needed. 
Here again, the children should make the decision. Have 
several children say or do what certain characters said or 
did, showing how they think the parts should be acted. 
Let the class decide whose performance is the most satis- 
factory, and why. Instead of choosing one cast only, 
divide the children into two, three, or even more groups, 
depending on the number of characters needed, and let each 
group give the play. See that the groups are arranged 
so as to be of about equal average ability. Let each group 



DRAMATIZATION 35 

choose its own director and assign the characters. Have 
it understood that no child will act as director a second 
time, or take the part of a leading character again, until 
all other children from the group have served. The chil- 
dren should now be allowed to go back and read the story 
in whole or in part, as many times as they need to in order 
to decide on just what each character said and did. In 
the matter of selecting furniture and other materials needed 
for the stage setting, throw them entirely upon their own 
resources. Children are surprisingly resourceful when 
they have the opportunity. Let each group present the 
play and let the class decide which presentation was best 
and which characters in each group did best, also what it 
was that made their work excel. An all-star cast to pre- 
sent a final performance or to present the play to some 
other grade may be selected by choosing from each group 
the one who did his work best. 

Occasionally correlate the dramatization with the work 
in English by letting the children write out the play. Make 
the first written dramatization a class project and use the 
blackboard in helping the children work it out. Begin by 
showing them in what form plays are written. " The 
Broken Kite " in Story Hour Readings, Fifth Year, page 
152, is a convenient model. Other examples of good simple 
dramatization can be found in the following books : 

Johnston and Barnum, Book of Plays for Little Actors. 

Holbrook, Dramatic Reader for Lower Grades. 

Skinner and Lawrence, Little Dramas for Primary Grades. 

Skinner, A. M., Dramatic Stories for Reading and Acting. 

Knight, Dramatic Reader for Grammar Grades. 

Varney, Story Plays, Old and New, Books One, Two, and Three. 



36 THE TEACHING OF READING 

On other occasions let each child write a scene and then 
let the class choose the best of these for production. An- 
other method is to divide the class into groups and let each 
group be responsible for writing one scene. If there is a 
duplicating machine in the school, print the play and let 
each child make and decorate a booklet containing the 
play that was written as a class project. Children may 
also make booklets containing their own original plays. 
(For a moving-picture scenario see " The Four MacNicols/ 5 
page 157, Manual.) 

Plan for Dramatizing " A Turkey for the Stuffing " 
{Fourth Fear, page 131) 
Have the class read the selection silently to find out its dra- 
matic possibilities. If they agree that it is a good selection to 
dramatize ask them to look through it to find out how many 
characters will be needed. Make a list of characters on the 
blackboard as the class names them. 

Characters 
Benny First Mate 

Grandmother Cook 

Captain of the boat 

Have the class read the story again to see how many scenes 
are needed and what happens in each scene; also where and 
when the first scene takes place, what characters appear in it, 
what each is doing, and what each has to say. One child 
should take the part of Benny and another that of the grand- 
mother and they should read the exact words of the conversa- 
tion in the story. Place this conversation on the blackboard 
as the children read, and ask the class to suggest any explana- 
tions or directions that are needed for the benefit of those who 
are to act in the play. Write these suggestions on the blackboard 
in their proper place. 



DRAMATIZATION 37 

SCENE I 

Characters. Benny and his grandmother. 
Time. The morning before Thanksgiving. 
Place. The kitchen in grandmother's home. 

{Grandmother is sitting in the kitchen, near the stove, in an old rocking- 
chair, mending. Benny stands looking wistfully out of the window at 
the river.) 

Benny. Gran'ma, what day's to-day? {Turns and looks around 
the room, then walks over to his grandmother.) 

Grandmother. Wednesday, Benny. 

Benny. Then to-morrow will be Thanksgiving Day, and the 
Rosses are going to have a turkey. What are we going to have, 
Gran'ma ? 

Grandmother {looks sadly over her glasses at Benny). Sonny, 
dear, what do you think Gran'ma has for Thanksgiving? 

Benny {winks hard to keep the tears back as he remembers how little 
they have, then braces up bravely) . Tell me about a real Thanksgiving. 

Grandmother {takes of her spectacles and leans cautiously back 
in chair). I remember one Thanksgiving when your pa was alive, 
we had a dinner fit for a king. There was a ten-pound turkey with 
bread stuffing. I put the sage and onions into the stuffing with my 
own hands. 

Benny {eagerly) . We could have some stuffing ! 

Grandmother. So we could, Sonny, so we could. It takes you 
to think of things. {Affectionately pats Benny 's hand, which is lying 
on her knee.) It never would have come to me that we might have 
turkey stuffing even if we didn't have turkey. 

Benny {beaming with delight) . And was there anything else besides 
the turkey and the stuffing, Gran'ma ? 

Grandmother. Land, yes, child ! There were turnips and mashed 
potatoes and mince pie, and your pa got two pounds of grapes, 
though grapes were expensive at that time o' year. Yes, nobody 
could ask for a better dinner than that was ! 

Benny {hopefully). We could have one just like it, all but the 
turkey and the mince pie and the grapes. 



38 THE TEACHING OF READING 

Grandmother. So we can, and will too, child. Trust you for 
making the best of things. 

{They smile happily at each other.) 

Have the class read the next section to see what takes place 
in Scene II, what characters appear in this scene, where it 
takes place, and what the people say to each other. Have 
the conversation read and placed on the blackboard with expla- 
nations as in Scene I. 

SCENE II 

Characters. Benny and his grandmother. 
Time. Thanksgiving morning. 
Place. Same as Scene I. 

Grandmother {busily at work making the stuffing; puts it in oven). 
Your father said I made the best turkey stuffing he ever ate. We'll 
see how it comes out, Benny. 

Benny. I can hardly wait till dinner time. I believe I'll go 
down to the beach and pick up driftwood for a while. You can call 
me when things are almost cooked, Gran'ma. {Skips out excitedly.) 

Work out Scene III in the same way as the others. 

SCENE III 

Characters. Benny. 

The Captain. 

The First Mate. 

The Cook. 
Time. A few minutes later. 
Place. The beach. 

{Benny is picking up driftwood on the beach. A boat is near the shore. 
The Captain shouts through a great trumpet.) 

Captain. Hullo, boy ! What makes you work so hard on Thanks- 
giving Day? 

Benny {straightens up and sees the boat and the captain). I'm 
waiting for dinner to cook. 



DRAMATIZATION 39 

Captain. Can't hear you ! Run home and get your horn and 
talk to me. 

{Benny runs to neighbor's house and borrows megaphone) 

Benny. I'm waiting for dinner to cook. 

Captain. Going to have turkey, I suppose. 

Benny (proudly). No, but we're going to have turkey stuffing. 

Captain (laughing) . Turkey stuffing, but no turkey ! If that 
isn't the best I ever heard ! What else are you going to have ? Mince 
pie without any mincemeat ? 

Benny. No sir! My father had mince pie for Thanksgiving 
dinner once, though. 

Captain. Did, did he? (Captain drops trumpet and speaks to 
mate.) That boy's all right. He's too plucky to be laughed at. 
I am going to send him some turkey for his stuffing, Morgan. Tell 
the cook to get ready half a turkey and a mince pie, and say, Mor- 
gan, we'll have him send up one of those small baskets of grapes. 
We'll tie them to a piece of plank and they'll float ashore all right. 
Tell the cook to hurry or we'll be too far downstream for the boy to 
get the things. (Raises trumpet again.) Say, boy, can you row 
that boat that's tied to your dock? 

Benny. Yes, sir. 

Captain. W T ell, you hurry out into the river and I'll put off a 
float with some things for your Thanksgiving dinner. You're going 
to have some turkey for that stuffing. 

Benny (pushes of row boat and soon reaches the plank. Smacks 
lips as he lifts things into the boat). First the stuffing, then the tur- 
key ! My, what a Thanksgiving for Gran'ma and me I 

Selections for Dramatization 
Fourth Year 

PAGE 

The Little Tadpole 28 

A Halloween Show 119 

A Turkey for the Stuffing 131 

Our Helpers 209 

"Try Again" 297 

An Ax to Grind . 302 



4 o THE TEACHING OF READING 

PAGE 

Circumstances Alter Cases 306 

The Noblest Deed 309 

The Usual Burglar 335 

Fifth Year 

A Greenwood Hunter 13 

Obed's Pumpkins 31 

Little Daffy-Down-Dilly 60 

The Four MacNicols 68 

The Broken Kite 152 

The Soldier's Reprieve 320 

The Selfish Giant 332 

The Pied Piper of Hamelin 343 

Sixth Year 

Mrs. November's Dinner Party 182 

The Princess' Escape from the Goblins 223 

The Imaginary Banquet 238 

How to Tell Bad News .279 

Hanging a Picture . . . . 281 

APPRECIATIVE READING 

Appreciation defined. Appreciation is an important 
element in education, and the teaching of reading furnishes 
a splendid opportunity for its development. The atti- 
tude of mind which we call appreciation involves the pleas- 
ure tone and the feeling of sympathy. The ability to 
read appreciatively depends somewhat upon the recog- 
nition of the following characteristics : 

1. Beauty of thought. 

2. Beauty of language — including the vivid word 
picture ; the clear, concise sentence ; the well-chosen word 
or phrase ; rhythmic, poetical language ; and logical se- 
quence of thought. 



APPRECIATIVE READING 41 

3. Skillful portrayal of character. 

4. Expert plot construction. 

The lesson for appreciation. It is not necessary to recog- 
nize all these characteristics in order to appreciate a selection, 
but the more of them one does recognize, the greater will 
be his appreciation. Hayward, in his excellent little book, 
The Lesson for Appreciation, suggests that whenever a les- 
son for appreciation is to be taught, the teacher begin sev- 
eral days in advance to arouse anticipatory interest. This 
can be done incidentally by such remarks as " We are going 
to read a delightful poem on this same subject in a few 
days," intended to make the class look forward to this 
lesson. In teaching this type of lesson the teacher must 
be extremely careful not to impose her ideas on the pupils. 
The suggestive question which directs the thought into a 
certain channel but does not require an answer is helpful. 
Too much analysis defeats its own purpose. Create the 
right atmosphere by giving briefly any information or ex- 
planations needed as a background. Remember that 
first impressions are always the strongest, so make the 
first impression a telling one. If it is a poem that is to be 
studied, the first reading should be done by the teacher 
or by some child who is a good reader. Read the selection 
as a whole, without pause or comment. In the study, do 
not fuss too much over the meanings of words or of allusions. 
Explain only those that are necessary to a general under- 
standing of the selection. Remember that it is not neces- 
sary to understand every word of a selection in order to 
enjoy it. Encourage the children to select the lines or 
stanzas or section that they like best, but do not be too 
insistent. Close the lesson by a reading of the selection 



42 THE TEACHING OF READING 

as a whole, without question or comment, thus leaving 
with the children the impression of the selection as a whole 
and letting it bring its own final message. 

Suggestions for training in appreciation. If it is appar- 
ent that the class as a whole have enjoyed a certain selec- 
tion, make a little analysis of the reasons why they liked 
it. When these are discovered encourage the children to 
bring in other selections which they like for similar reasons. 
Make use of the selections that the children contribute. 
Have the best ones read to the class and comment briefly 
and encouragingly upon the others. These selections may 
be used for morning exercises or in the surprise programs. 
By learning to distinguish in new reading matter charac- 
teristics previously recognized as admirable, children es- 
tablish in their own minds certain standards of excellence. 

In the teaching of appreciative reading make many 
appeals to the imagination. In the unfamiliar narrative, 
stop at an interesting point and let the children imagine 
what is going to happen next or how the story came out. 
Correlate such a lesson with the work in English by letting 
the children write different endings for the story. 

Get the children to visualize by asking them to tell just 
how a person or a scene looked. By questioning for details 
get them actually to see the thing described. 

Do not confine the idea of appreciative reading to poetry 
alone. Lead the children to appreciate well-written prose. 
Call their attention to the well-chosen word or phrase, 
the concise sentence, the artistically told story, the clear, 
simple, logical explanation, the vivid description. Arouse 
in the children a real admiration for good prose 
writing. 



APPRECIATIVE READING 43 

Detailed suggestions for training in appreciative read- 
ing are included in the suggested lesson plans. 

In addition to the material suitable for training in the 
type of appreciation suggested above, which has to do 
primarily with the manner of the writing, the Story Hour 
Readings furnish material that should lead to a better 
appreciation of the matter written about — various phases 
of the world about us. 

In working for appreciation of either type do not preach 
to the children, but by suggestive questions lead them to 
see, to compare, and to draw their own conclusions. 

Selections for Appreciative Reading 
The teacher will find it profitable to try to develop an apprecia- 
tion of the following subjects in connection with the suggested selec- 
tions : 

Fourth Year 

1. Out-of-door life. page 

Camping Out 13 

Autumn 19 

Spring Song 27 

The Little Tadpole 28 

2. Animal life and services. 

A Dog's Own Story 69 

Raggles 78 

The Horse's Prayer to his Master 82 

The Grateful Elephant 94 

3. Farm life. 

Farmer John 99 

Special Kinds of Farming 103 

Life on the Farm 114 

4. Our country's builders. 

The Young Surveyor . 162 

Paul Revere's Ride . 168 

Abraham Lincoln's School Days 177 



44 THE TEACHING OF READING 

5. The dignity of labor. FAGE 

Our Helpers 209 

The Miller of the Dee 211 

The Village Blacksmith 217 

6. Our political and social heritage. 

Mother Purnell 233 

How the Pilgrims Lived 239 

In Old New York 243 

In Old Louisiana 247 

Old-Fashioned Telegraphs 251 

7. Humor. 

The Owl and the Pussycat 260 

A Tragic Story 262 

8. Bird life and services. 

Robert of Lincoln 278 

The Parable of the Wren 291 

The Sandpiper 292 

The Bluebird 294 

Fifth Year 

1. Courage and bravery. 

A Greenwood Hunter 13 

A Bold Sea-Rover 19 

Incident of the French Camp 24 

Putnam and the Wolf 41 

2. The dignity of labor. 

Work 57 

Heroes 58 

The Four MacNicols 68 

Tubal Cain 81 

Work — A Song of Triumph 89 

3. The perils of the sea. 

The White Ship 93 

Grace Darling 106 

Out of the Wreck 112 



APPRECIATIVE READING 45 

PAGE 

The Inchcape Rock 119 

An Adventure with a Shark 123 

The Wrath of the Winds 127 

4. Qualities needed in life. 

The Courage That Wins 139 

Boost Your Town 144 

Find a Way or Make It . . 145 

The Broken Kite 152 

The Old Scrap Box 159 

The Magic of Kindness 163 

Promoted 169 

5. Indian life. 

An Indian Camp 179 

The Building of the Canoe 187 

Among the Indians 191 

6. Humor. 

The Blind Men and the Elephant 225 

The Walrus and the Carpenter 232 

New England Weather 242 

7. Out-of-door life. 

Rain in Summer 251 

The Swarming of the Bees 253 

Graywings 258 

Our Friend the Dog 265 

Jarro, the Wild Duck 284 

8. Our debt to the past. 

In Flanders Fields 304 

America's Answer 305 

In the Wilderness 326 

9. Life in other times and countries. 

The Cunning Arab 347 

The Cadi's Decisions 350 

The First Printer 367 

Hunting Song 377 



46 THE TEACHING OF READING 

10. Our country. page 

Independence Bell 381 

I Am an American 385 

Little Athens' Message 388 

Sixth Year 

1. Nature. 

The Robber Crab 13 

June 16 

Song of the River 18 

Camping in the Winter Wilderness 20 

Life in the Woods 42 

2. Industrial life and the interdependence of man. 

The Story of the Railroad 113 

The Steamboat 116 

A Word about Cotton 120 

The Story of the Reaper 124 

Brothers of the World 139 

3. Pioneer life. 

A Story of Detroit 145 

Pioneer Houses 148 

A True Hero 154 

Traveling 166 

4. The meaning of our red-letter days. 

Columbus 177 

Armistice Day 179 

A Thanksgiving ^ 188 

Washington's Birthday 201 

5. Humor. 

A Dutch Governor 275 

How to Tell Bad News 279 

Hanging a Picture 281 

Helps to Read 285 

6. Old World civilization. 

The Story of Lafayette 297 

The Sons of Feridoun , , 309 



MEMORIZING 47 

PAGE 

Henry Hudson's Quest 320 

The French Children's Crusade 322 

The Skating Match 331 

7. True success. 

Abou Ben Adhem 347 

As Good as his Word 349 

Cleon and I 353 

Who Is the Happiest Man ? . 361 

8. Our country and community. 

The Landing of the Pilgrims 377 

A Great Citizen 379 

At Valley Forge 383 

The House by the Side of the Road 386 

"Breathes there the Man" 391 

Qualities of Good Citizenship 397 

MEMORIZING 

General suggestions. A few choice selections should 
be memorized each year. The child who has memorized 
worth-while selections has at his command, in addition 
to his store of " beautiful thoughts beautifully expressed/' 
a standard by which to judge other writing. If each 
teacher reviews the selections previously taught and adds 
during the year four or five new ones, by the end of the 
elementary-school course the child will have a stock of 
from thirty to forty poems or prose selections. Do not 
confine the memorizing entirely to poetry ; at least one 
prose selection should be memorized each year. In addi- 
tion to the selections memorized by the class as a whole, 
encourage each child to select for himself other beautiful 
passages or poems and to commit them to memory. Have 



48 THE TEACHING OF READING 

each child make and keep from year to year his own book 
of memory gems, selected from the class work and from his 
own general reading. Devote a period occasionally to 
letting the children recite the new selections which they 
have included in their books. The teacher should at stated 
times put on the blackboard a selection which she partic- 
ularly likes, giving any child who cares to do so the privi- 
lege of copying it into his book. As a class project, make 
a book of selections for memorizing, to remain in the room 
for next year's class. In this book let each child write two 
or three of his choicest memory gems. 

How to memorize. Recent studies in psychology have 
proved that we memorize a selection more quickly by the 
" method whole " than by memorizing stanzas or parts. 
First let the class read the selection as a whole. Then, 
by question and suggestion get them to follow the nat- 
ural sequence of the thought. In developing the thought 
ask questions that will require for an answer the repetition 
of the words of the selection. Then read the whole selec- 
tion through again. After one or two readings, depending 
on the difficulty of the selection, ask the children to repeat 
with you as much as they can. Let them refer to the 
book when necessary. In a short time much of the poem 
will be learned. Next give special attention to the lines 
or stanzas that seem to be least easily retained, afterwards 
going back to the whole again, in order to keep the connec- 
tion unbroken. Have the class repeat the selection fre- 
quently for a few days, gradually lengthening the period 
between repetitions. If a selection is to be retained in 
memory, it is necessary to " overlearn " it at first and to 
review it very frequently during the first few w T eeks. 



MEMORIZING 40 

Plan for Memorizing "The Village Blacksmith 1 ' 
{Fourth Year, page 217) 

Introductory. Begin with informal talk about the shop, 
having the children contribute as much information as possible. 
Ask such questions as the following : How many of you ever 
saw a blacksmith's shop? What was being done there? What 
kind of man would be needed to do this hard work? 

Bring out the thought that the blacksmith would have large, 
strong, " sinewy " hands, and that his arms would be very strong 
and muscular — "brawny." In talking about the work of 
the blacksmith see that the children know the use and appear- 
ance of an anvil, sledge, and bellows. Some of the children 
will probably tell about the flying sparks. Work in as many 
of the expressions of the poem and clear away as many diffi- 
culties as possible in this preliminary talk. 

Explain the occasion and atmosphere of the poem some- 
what as follows : One of our greatest American poets, Henry 
Wadsworth Longfellow, who lived in Cambridge, ' Massachu- 
setts, often passed in his walks a blacksmith's shop which stood 
under a large, spreading chestnut tree. The sight of this black- 
smith at his work suggested to Longfellow a fine poem about 
hard, honest work and simple living. 

Picture study. Have the class open their books at page 217, 
and ask such questions as the following : What is this picture ? 
What do you notice about the blacksmith's hands and arms? 
What has he in his hand? Where is the anvil? Would he 
swing this heavy sledge rapidly or slowly? (Bring out the 
idea of the slow, regular stroke, the "measured beat and slow.") 
What do you see at the door? At the left end of the shop? 

The poem. Read the poem as a whole aloud to the class 
without comment. Ask such questions as the following, 
having the children open their books and read the words or 
lines that give the answer : Where did the shop stand ? What 

S.H.R. MAN. 4-5-6 — 4 



5 o THE TEACHING OF READING 

word does the poet use instead of shop? How does he tell 
us that the blacksmith was a very strong man? What words 
suggest strength? What else is said about the appearance 
of the blacksmith? What do the last two lines on page 217 
tell you about the man ? 

The next step is to have the children get for themselves the 
thought sequence of the poem. Questions and suggestions like 
the following may be used : Read the stanza which tells about 
the work in the shop. To what is the swinging of the sledge 
compared ? What does a sexton do ? 

Read the stanza that tells about the school children. Why 
do the children love to stand at the open door? Would you 
like to stand there ? Why ? 

Read the two stanzas that tell us what the blacksmith does 
on Sunday. What thoughts come to him as he hears his daugh- 
ter sing? What has become of her mother? Read the last 
two lines of the second stanza and the fifth stanza. These 
give us a little picture of his satisfaction and joy in life. Read 
the third stanza. This stanza gives us a picture of his work. 
Now read the sixth stanza. From this we get a hint of his 
sorrow and its connection with his joy. In the next stanza 
the poet sums up the blacksmith's life for us. Read it. What 
words does Longfellow use to tell us that the blacksmith's life 
is made up of work, joy, and grief? Read the lines that tell 
us why his life is so satisfactory. As the poet sees this black- 
smith working so faithfully day after day, "toiling, rejoicing, 
sorrowing," what thoughts come to him? Read the last stanza. 
How does he feel toward the blacksmith ? What lesson has the 
blacksmith taught him ? 

Have each pupil read the poem over silently and select some 
part that he particularly likes, to read to the class. The selec- 
tion may be a line or two, or a stanza. Then ask why they 
like the respective parts they have chosen. Do not press all 



MEMORIZING 51 

the children for an answer to this last question. Some of them 
will be able to give a reason for their preference, others will not. 
The idea is rather to set them thinking about the matter than 
to have them formulate a definite answer. 

Have the children read the poem again as a whole and after 
this reading ask them to repeat as much of it with you as they 
can. Let them use the book when necessary. After two or 
three repetitions many of the children will be able to repeat 
much of the poem. Now give special attention to any lines or 
stanzas which have caused trouble. The following outline 
placed on the blackboard may help in getting the thought 
sequence : 

The location of the shop lines 1-2, p. 217 

The appearance of the blacksmith lines 3-12 

His work lines 1-6, p. 218 

Children coming home from school lines 7-1 2 

Sunday — church — thoughts lines 13-24 

Summary of life lines 1-6, p. 219 

Thoughts of the poet lines 7-12 

Review frequently, gradually lengthening the period between 
repetitions. 

Selections to be Memorized 
Fourth Year 

PAGE 

Autumn . Dickinson 19 

Spring Song Browning 27 

We Thank Thee 130 

A Thanksgiving Creed 136 

A Song of Our Flag 181 

Pledges 184 

The Village Blacksmith Longfellow 217 

The Secret Ingelow 274 

The Bluebird Miller 294 

The Arrow and the Song Longfellow 308 



52 THE TEACHING OF READING 

Fifth Year page 

Work van Dyke 57 

Work — A Song of Triumph Morgan 89 

What He Learned Guest 173 

Eulogy on the Dog Vest 271 

In Flanders Fields McCrae 304 

America's Answer Lillard 305 

Ring Out, Wild Bells Tennyson 318 

" Pledge of the Athenian Youths " . ... . . . Stephens 390 

My Country 39$ 

Sixth Year 

June Lowell 16 

Wanderlust Gould 88 

The Corn Song . : Whittier 118 

Columbus Miller 177 

Trees Kilmer 206 

Dedication of Gettysburg Cemetery Lincoln 210 

Flag o' My Land . Daly 212 

Abou Ben Adhem Hunt 347 

The Noble Nature Jonson 348 

Ingratitude . . Shakespeare 348 

The Landing of the Pilgrims Henians 377 

Concord Hymn Emerson 385 

The House by the Side of the Road Foss 386 

"Breathes there the Man" Scott 391 

Qualities of Good Citizenship Roosevelt 397 

WORD STUDY AND USE OF THE 
DICTIONARY 

Importance of a wide vocabulary. Modern psycholo- 
gists are emphasizing the fact that there is a very close 
correlation between a person's vocabulary and his ability 
to think. One who thinks much and clearly needs a wide 
vocabulary; both because he has more ideas to express 



WORD STUDY 53 

and because he will wish to make, in his thought as well 
as in his speech, the nice verbal distinctions necessary to 
express his exact meaning. 

The teacher, therefore, who arouses in a child the desire 
for a wider vocabulary and points out the means of acquir- 
ing one, performs for him a very real service and puts at 
his disposal a valuable instrument of clear thinking as well 
as of intelligible self-expression. 

Suggestions for increasing vocabulary. 1. Class de- 
vices. There are many ways of creating interest in the 
acquisition and use of new words. A most important 
prerequisite of all such work is, of course, the ability of 
the teacher herself to use the right word and her sensitive- 
ness to the use and misuse of words by others. Her ex- 
ample in these respects will be potent in helping the chil- 
dren. In reading selections attention should frequently 
be called to examples of the well-used word. The nice 
use of a word by one of the children may be tactfully com- 
mended. When children are groping for a word in con- 
versation or recitation, supply it for them, explain its 
special fitness, and see that it is used sufficiently to become 
a part of their vocabulary. Furnish the occasion that 
will call for the use of each new word at least three times. 
Interest the children in the correct use of synonyms. In- 
sist, too, at every opportunity on the use of specific words 
rightly applied. Take a simple sentence, for example, 
" He went down the street," and lead the children to see 
how, by using different words, many different kinds of 
going can be indicated : walked, ran, tore, raced, marched, 
tramped, crawled, limped, skipped, hopped, sneaked, stole, 
glided, stalked, trudged, flew, etc. Train them to select 



54 THE TEACHING OF READING 

wherever they can the word that tells most — that most 
exactly and fully expresses their meaning. 

Another good method of creating interest in the use of 
words is to write on the board a paragraph with other 
words substituted for some of those in the original. Have 
the children suggest better words, rewrite the paragraph 
using the best words suggested, and then compare the re- 
sult with the original paragraph. For example, the fol- 
lowing paragraph, having the underlined words changed, 
is taken from " How the Pilgrims Lived," Story Hour 
Readings, Fourth Year, page 241 : 

"The light is unsteady, sometimes showing wide strips of 
the sanded floor and making the strings of dried apples and 
herbs, hanging from the ceiling, throw funny shadows. The 
noise of the fire, the cheep of the knife, the hum of the wheel, 
give a sweet sense of home cheer, even in the woods." 

The original paragraph reads : 

"The light flickers uncertainly, sometimes showing wide 
stretches of the sanded floor and causing the strings of dried 
apples and herbs, dangling from the ceiling, to cast strange 
shadows. The crackle of the fire, the cheep of the knife, the 
whir of the wheel, give a sweet sense of home cheer, even in 
the wilderness." 

Get the children to see how much more vivid the picture 
is made by using such words as " flickers," " stretches," 
" dangling," " strange," " crackle," " whir," " wilderness." 

Another good method is to write the "paragraph, leaving 
out the words which are to be changed, and have the chil- 
dren fill in the blanks. Let them consult lists of synonyms 
in their dictionaries and elsewhere and choose the one that 



USE OF THE DICTIONARY 55 

fits best. In these exercises, instead of having each child 
look up every word, divide the class into groups, and let 
each group be responsible for looking up and listing on the 
blackboard all the synonyms of one or two of the changed 
or missing words. Then have the class select from these 
lists the most appropriate word. 

2. The child's own word book. Have each child keep a 
word book of his own. Let him make in this book a list 
of good, common words which he should use but does not. 
When he has actually used one of these correctly five times, 
either in or out of school, have him check or star the word. 
Encourage the children to add at least three new words 
to their vocabulary each week, in addition to those that 
they would naturally add as a part of their regular subject 
matter. Take a short period each week to find out what 
words have been added during the week and to stimulate 
the adding of others. Encourage original choice of words 
but avoid the unusual and, in general, technical terms. 

Use of the dictionary. In the fourth year begin to 
train children to get the " dictionary habit " with special 
regard for pronunciation and definition of words ; but 
do not overwork the dictionary in connection with the 
reading lesson. Pronounce distinctly for the children any 
unusual words. To fix these pronunciations, have the 
pupils repeat them after you. Get from the context the 
meaning of as many words as possible. If several words 
need to be pronounced or defined, assign them to groups 
of children so that no child will have to find more than two 
or three. Hold each group responsible for making the 
meaning of its list of words clear to the other groups. Give 
definite training in the use of the dictionary. Every room 



56 THE TEACHING OF READING 

should be supplied with an unabridged dictionary. If 
school dictionaries are not supplied to the children, en- 
courage them to purchase their own. Good dictionaries 
can be bought for a very small sum. The children of one 
class which the writer taught supplied themselves by each 
child asking that a dictionary be given him for Christmas. 

Suggestions for training children to use the dictionary, 
i. Arouse interest in the dictionary by an informal talk 
with the children, showing them how useful it is and 
what a great variety of information can be found in it. 
Bring out the facts about a word that can be found out 
from the dictionary — pronunciation, spelling, meaning, 
and division into syllables. Show the children the illustra- 
tions that help to make clear the meaning of many words. 
Show them the lists of synonyms, and explain that in these 
we can find the other words that mean nearly the same as 
the word we are looking for. Get the children to look 
through the dictionary in order to see what is to be found 
there. 

2. Once interest in the dictionary has been aroused, 
the next step should be to train the children to find words 
quickly. Put the alphabet on the blackboard in groups : 

A-B-C-D-E-F G~ H-I-J- K-L-M 

N-O-P-Q-R-S-T U- V-W- X- Y-Z 

Get them to see that a word beginning with A or B will 
be near the front ; with F and G about the middle of the 
first half ; with L, M, N, O about the middle ; with S, T, 
U about the middle of the last half; and with X, Y, Z 
near the end. Spend several short periods in training the 
children to open the book approximately at the letter with 



USE OF THE DICTIONARY 57 

which the word begins. Make a game of this by having 
races between rows. When the majority of the class are 
able to open the book quickly to the letter required, excuse 
them from further practice and give special attention to 
the slow ones. Discover if possible why they are slow. 
The trouble may be due to lack of knowledge of the order 
of the alphabet or of the approximate place of the letters. 
Drill until all the pupils are able to open the book approxi- 
mately at the required place. 

3. Teach the use of the guide words at the top of the 
columns. Lead the children to see that the word at the 
top of the left-hand column is the first word on the page and 
the one at the top of the right-hand column is the last 
word on the page. Train them to compare quickly the 
first four letters of their word with the guide word. Give 
much practice in locating quickly words beginning with 
the same letter ; for example, machine, mute, mythology, 
mechanic, moral, maroon, marrow, marvelous, minaret. 

4. Train the children to pronounce correctly. Show 
them how to use the key words at the bottom of the page. 
Teach them the use of the accent mark and the diacritical 
marks, and show them how the syllabication of difficult 
words is indicated in parentheses. Do not fail, however, 
to verify in class the pronunciations of the difficult words 
of importance in any lesson, remembering that pronun- 
ciation is largely dependent on the aural and not the visual 
sense for fixation. 

5. Teach the children to select the meaning of the word 
that fits. Show them how words have many and very 
different meanings, and that selection is therefore necessary. 

6. Show the children how to find synonyms for words. 



5 8 THE TEACHING OF READING 

7. In the upper grades, the children may be shown how 
the parts of speech and the derivations of words are indi- 
cated. 

Drill upon each step until the children are able to do it 
easily and quickly, then proceed to the next. Make much 
use of the dictionary. Establish the habit of always re- 
ferring to it when in doubt. 

READING OUTSIDE OF- SCHOOL 

Importance. The most important phase of the teaching 
of Reading, after the mechanics of the process have been 
mastered, is forming the habit of reading worth-while ma- 
terial outside of school. Any person who has this habit 
will educate himself. There are many different ways in 
which this habit of outside reading may be stimulated. 

How to stimulate outside reading. 1. Reading Clubs. 
The formation of Reading Clubs has proved helpful in 
many classes. Try to organize the pupils into clubs ac- 
cording to their interests, and do not try to get every pu- 
pil into a club the first week. Have as many clubs as there 
are varieties of interests in the class. One group of boys 
may be interested in wireless telegraphy, another in out- 
of-door life, another in history, and still another in stories 
of adventure or biography. One group of girls may want 
to read poetry, another group may wish to study birds. 
Do not try to force these clubs. Rather watch for signs 
of special interests and then be ready to suggest inter- 
esting books on these topics. These clubs may be 
called Hobby Clubs. Do not be discouraged if a few of 
the children are slow in finding a place in any club, but on 



READING OUTSIDE OF SCHOOL 59 

the other hand do not rest satisfied until every child is 
interested in some special phase of reading — some hobby. 
Give each club a chance once each term to tell the other 
clubs about its reading — what books have been found most 
interesting, etc. — and to read aloud extracts that they 
think especially good. This makes excellent oral English 
work. Each club may be made responsible for the morn- 
ing exercises once or twice a term. 

2. Home Reading Circle. A Home Reading Circle is 
another plan that has brought good results in many classes. 
Each child is pledged to read at least three times a week 
to a younger brother or sister, or to some other member 
of the family. 

3. Book Period. A valuable adjunct is the weekly 
Book Period, in which children tell about the books that 
they have read, touching upon the theme of the story, and 
one or two of its interesting features. Train the children 
to tell just enough about the story to make others want 
to read it. Not over rive minutes should be allowed for 
the review of any one book. 

4. Card review. A card review prepared by a child for 
the use of other children is helpful. The card may be 
arranged in the form shown below : 



Name of book Date . 

Author 

Reviewed by 

What the story is about 



6o THE TEACHING OF READING 

/a 

These cards are to be filed in the book when it is in the 
school library and removed when it is taken out. They an- 
swer briefly the question, "What is this book about? " and 
their preparation is a valuable exercise in concise expression. 

5. Unfinished stories. Another good method of get- 
ting children to read is for the teacher to read the begin- 
ning of interesting stories to the class, stopping when 
interest is aroused. When the reading is ended, arouse fur- 
ther interest by some such remark as " What do you sup- 
pose happened next ? " " Why do you think he did that ? " 
or " How do you suppose he is going to get out of that pre- 
dicament? " Then suggest to the children that they may 
take the book and read the rest for themselves, but that 
no one is to tell anyone else how it came out — if any 
pupil really wants to know, he must read and find out for 
himself. 

6. Current events. In every grade current events should 
be made use of to stimulate outside reading. The work 
in the fourth and fifth grades must be simple, but should 
not be neglected. Here again it works well to divide the 
children into groups. Have one group report on foreign 
news; others on interesting happenings in our own coun- 
try, our own state, our own city, our own school ; another 
on items of geographical interest. One group should be 
on the watch for really good anecdotes. Change the assign- 
ments of each group at least once a month, so as to give 
every child an opportunity of developing a wide range of 
interests. Make the current-event period a " red-letter " 
period. The teacher should be ready to add to the general 
interest by telling of some of the interesting things that 
she has read during the week. 



SOCIALIZING AND VITALIZING 61 

SOCIALIZING AND VITALIZING THE READING 

Suggestions. Many methods have already been sug- 
gested for socializing and vitalizing the reading. Among 
them are surprise programs; group readings; dramati- 
zation ; reading clubs ; book periods ; card reviews ; cur- 
rent-event periods ; and reading of stories to other grades 
or to members of the class, or at parents' meetings, morn- 
ing exercises, etc. The Story Hour Readings contain many 
excellent selections especially adapted to programs for 
various occasions. Part V of the Manual contains a list 
of suggested programs from each Reader, arranged approxi- 
mately in the order in which they will be used. 

It is also suggested that when the children have finished 
reading a certain group of selections, a program be given 
of material from that group with additional selections on 
the same topic which the children have found for them- 
selves. Do not be afraid to include one nonsense, or hu- 
morous, program during the term, but see to it that the 
humor is of the right kind. Each of the following groups 
may be used as the basis of a program : 

Fourih Year 
Out of Doors {Nature program). Our Animal Friends {Humane 
program). On the Farm {Autumn program). The Glad Holidays 
{Holiday program). Our Own Country {Patriotic program). Pio- 
neer Days {Thanksgiving program). A Little Nonsense {Nonsense 
program). Our Friends the Birds {Spring program). 

Fifth Year 
Indian Tales {Thanksgiving program). In a Merry Mood {Non- 
sense program) . Out of Doors {Nature program) . Red-Letter Days 
{Holiday program). Our Country {Patriotic program). Tales of 
the Sea {Geography and history program). 



62 THE TEACHING OF READING 

Sixth Year 

In the Open {Nature program). Ballads Old and New {Ballad pro- 
gram). The World of Work {Industrial program, in connection with 
geography). Early Days in America {Colonial program). Days We 
Honor {Holiday program). A Little Laughter {Nonsense program). 
Community and Country {Patriotic program). Adventure {Story 
program) . 

USE OF ILLUSTRATIVE MATERIAL 

How to use the illustrations in the book. Make use of 

the illustrations in the book to arouse interest in the stories. 
Before beginning the reading, have the children look at 
the pictures. Ask questions that will stimulate thought 
and make them eager to read to find answers. For example, 
suppose the selection to be read is " How the Pilgrims 
Lived," Story Hour Readings, Fourth Year, page 239. 
The picture study might be conducted with the help of 
such questions as follow : 

Look at the picture. What does it represent? What 
is the father doing? The mother? The eldest daughter? 
The other children? What time of day is it? What kind 
of lights did they have to work by at night? What do you 
notice about the furniture ? About the dress of the people ? 

If the children cannot answer these questions, suggest that 
perhaps they will find out when they read the story. Do 
not expect very definite answers and do not give any in- 
formation. Leave all possible questions to be settled by 
the reading. 

Posters and booklets. 1 . Class projects. The same lesson 
could be made the basis of work with original or collected 
pictures, on some such plan as the following : 



USE OF ILLUSTRATIVE MATERIAL 63 

Encourage the children to bring in other pictures illustrat- 
ing life in colonial times. As a class project, make a poster 
illustrating various phases of Pilgrim life. Let the children 
make drawings of Pilgrim houses, furniture, etc. Interesting 
posters may be made by cutting from black paper silhou- 
ettes illustrating the trees in the woods, the Pilgrims, their 
church, their furniture, their homes, etc. Encourage the 
children to make blackboard sketches and to make collec- 
tions of pictures for themselves. Show them how to mount 
these neatly and fasten the related sheets together in book- 
let form. 

2. Sources of material. Many excellent illustrations for 
posters may be found in the illustrated Sunday papers and 
in magazines, also in worn-out and discarded textbooks. 
Old geographies and histories are a veritable mine of treas- 
ures for this work. 

3. Selections to be illustrated by posters. The following 
subjects for posters or booklets or both give a basis for illus- 
trative work in connection with the suggested sections and 
selections : 

Fourth Year 

PAGE 

Camp Scenes Camping Out 13 

Dog Poster, showing different breeds of dogs . Famous Dogs 74 

Farm Scenes On the Farm 97-116 

Halloween Poster A Halloween Show 119 

Grains, Fruits, and Vegetables Selections on Thanksgiving 126-136 

Industrial Life The Busy World 207-230 

Colonial Life . Pioneer Days 231-256 

Bird Poster Our Friends the Birds 271-294 

Fifth Year 

Forest Conservation and Forestry ... A Forest on Fire 26 
Frontier Life The Captive 36 



64 THE TEACHING OF READING 



PAGE 



Types of Industry ' The Nobility of Labor 55-90 

Sea Scenes Tales of the Sea 91-134 

War Vessels .... When the Great Gray Ships Come In 109 

Indian Life Indian Tales 175-220 

Out-of-Door Life Out of Doors 249-300 

Pictures of Brooks The Brook 262 

Sixth Year 

Submarine Poster Attacked by a Submarine 67 

The Development of the Steam Engine 

The Story of the Railroad 113 

The Steamboat 116 

Cotton Poster ........ A Word about Cotton 120 

Pioneer Life Pioneer Houses 148 

Out-of-Door Sports The Skating Match 331 



CORRELATION OF READING WITH OTHER 
SUBJECTS 

Importance of correlation. As success in school work 
depends chiefly on the ability to read, reading should be 
closely correlated with the other school subjects. 

Methods of correlation. Under Silent Reading, in the 
paragraphs on " Types of Silent Reading " (page 20) and 
" Suggestions for Correlation " (page 21), many plans have 
been outlined for the correlation of reading with the study 
of geography, arithmetic, and history. The teacher should 
give children specific training in reading for the various 
purposes suggested under these topics. Much time that 
is now wasted in " hearing lessons " during the recitation 
period could be used profitably in training children to read 
economically and effectively. 

1. Arithmetic. It has already been said (page 22, 



CORRELATION 65 

Manual) that most of the trouble in solving problems in 
arithmetic comes from the child's inability to grasp the con- 
ditions laid down in the problem. To overcome this, occa- 
sionally spend a few minutes of the arithmetic period in 
having the children read the conditions of problems and 
then state them clearly and concisely. This type of drill 
should be continued until the children are able to read, 
grasp, and state the essential conditions without help from 
the teacher. 

2. Geography and history. Much of the difficulty in 
geography and history is due to lack of ability to select 

(a) the central thought, or main point, of a paragraph and 

(b) the closely related points with their supporting details. 
Here again specific training should be given either during 
the recitation period or in supervised-study periods. Work 
for one thing at a time. When the children have gained 
the ability to do one thing expeditiously, then attack the 
next difficulty. 

3. English. Several suggestions for the correlation of 
reading with English have already been made in connection 
with other topics. (See pages 22, 35, and 59, Manual.) 
The word study should result in a greatly increased vocab- 
ulary, as well as a respect for the right word and a desire 
to use it. Much opportunity for letter writing will arise 
in connection with the dramatizations and the morning 
programs. Letters may be written to other classes and 
to parents, inviting them to attend. Letters may also 
be written to the principal of the school, asking for per- 
mission to use the assembly hall. After the program or 
play, letters of thanks should be written to special teachers 
and others who assisted. These occasions also give many 

S.H.R. MAN. 4-5-6 — S 



66 THE TEACHING OF READING 

opportunities for good, practical oral work. In arranging 
such programs, hold the children responsible for planning 
as well as for executing. Let the children offer suggestions 
to the class as to what to do and then have a class discus- 
sion of how to carry out these suggestions. Much train- 
ing in courtesy can be given in such a discussion. If the 
help of special teachers is needed, let the children ask them 
oraUy for their assistance, but before asking let the class 
discuss just what explanations should be made to these 
special teachers and what they should be asked to do. Give 
the children practice in saying just what they are going 
to say when they make the request. Let the class select 
two children to make the request or explanation. 

In connection with the reading for appreciation, en- 
courage the children to attempt to write original poems, 
stories, sketches, or plays. Nature stories and poems, 
original endings to stories, and autobiographical sketches 
in connection with history stories can be done with profit 
by the children. 

4. Art. Correlate the art work with the reading when- 
ever possible. Let the children make additional illustra- 
tions for the stories. In this work make much use of the 
blackboard and of posters and booklets. Plays or pro- 
grams can be announced by posters made by the class and 
posted in other rooms and in hallways. 

5. Reference books. Train the children in the use of 
reference books. Give frequent opportunities for the use 
of tables of contents and indexes. Give much practice 
in cursory reading to find a single fact. The ability to 
glance rapidly through several pages of material, ignoring 
all irrelevant matter, is most valuable. 



GENERAL SUGGESTIONS 67 

GENERAL SUGGESTIONS 

1 . Read carefully Part I of the Manual, and the preface 
to the Reader. 

2. Keep in mind that the lesson plans given in the Man- 
ual are merely suggestive. There is no one way of teaching 
reading. 

3. The classification of the selections for oral and silent 
reading is somewhat arbitrary. Many of the selections 
can be used for either, and others can be used to combine 
the two. For example, in " The Magic Bowl," the ex- 
planatory part might be read silently and the conversa- 
tions orally. 

4. All poetry is meant to be read orally. 

5. Have in mind certain definite things to be accom- 
plished during the year, and make a list of them in a note- 
book. By the end of a month, in addition to the general 
things which are to be accomplished for the class as a whole, 
the specific needs of each individual pupil should be clearly 
understood by the teacher. List them, and check up 
progress frequently. 

6. Work continuously to increase each child's vocabulary. 

7. In all silent reading, direct the children to read as 
rapidly as is consistent with thought getting. Give con- 
stant attention to this, and hold the children responsible 
for reading at their best rate. 

8. The teaching of reading should result in : 

(a) The ability to get the thought quickly from the 
printed page ; 

(b) A love of good literature ; 

(c) A broadening of experience ; 



68 THE TEACHING OF READING 

(d) The development of character. The Story Hour 
Readings are rich in material portraying high ideals of 
character. 

9. After completing the reading of a section, spend a 
little time in summarizing it. Ask such questions as these : 
Which story in this section did you like best? Why? 
Which poem ? Why ? What new words from these stories 
have you used in conversation at least three times ? Have 
you placed them in your word book? Did you select any 
memory gems from this section? If you did. read them 
to us. Have you placed these in your book of memory 
gems? Have you told any of the stories to other people? 
Which ones ? 

10. Consult pedagogical books on reading. The fol- 
lowing titles are suggested for your perusal : 

Huey, The Psychology and Pedagogy of Reading, The Macmillan 
Company, New York. 

O'Brien. Silent Reading, The Macmillan Company, New York. 

Burgess, The Measurement of Silent Reading, Russell Sage Foun- 
dation, New York. 

Yearbooks of the National Society for the Study of Education. 
Fourteenth. Fifteenth. Eighteenth, and Twentieth. (These year- 
books contain articles by Courtis, Judd, and Gray on recent investi- 
gations as to methods, tests, etc.) 

Judd, Reading — Its Nature and Development, The University of 
Chicago Press, Chicago. 

Attainments in Reading, chart published by the Department of 
Education of Rochester, New York. 

Briggs and Cofeman, Reading in the Public Schools, Row, Peter- 
son and Company, Chicago. 

Hayward, The Lesson in Appreciation, The Macmillan Company. 

Strayer and Norsworthy, How to Teach (Chapter VI, "How 
to Memorize"; Chapter VIII, "Appreciation an Important Element 
in Education"). The Macmillan Company, New York. 



PART II — SUGGESTED LESSON PLANS 
FOURTH YEAR 

SECTION I — OUT OF DOORS 

Before beginning the reading of this section, have an infor- 
mal talk about out-of-door life. Raise questions and make 
suggestions like the following : Why do we like to be out of 
doors? Mention some places where people particularly enjoy 
going. Why? Read the paragraph on page n. How is it 
true that the greatest book in the world is the Out-of-Doors ? 
Who can read this book of Out-of-Doors ? How can they read 
it? What will you gain by reading it? Let us rapidly turn 
the pages of this first section of our Reader. Stop at page 38. 
What do you notice about all the pictures? Look at the title 
of each story. What are they all about? Do you think you 
will enjoy reading this section? Why? 

Let the class select a child to read the paragraph on page 1 1 . 

CAMPING OUT (p. 13) 

Supply a background for this lesson by an informal discus- 
sion of experiences of the class in camping out. Ask conver- 
sation-provoking questions such as the following: How many 
of you have ever camped out? Tell us about your experience. 
Did you have any unpleasant experiences? How might they 
have been avoided? What is particularly enjoyable about 
camping out ? What things should be kept in mind in selecting 
a site for a camp ? Describe for us what you would consider 
an ideal camping spot. Study the picture on page 12. What 
features make this an attractive spot for camping? Tell the 
story that this picture suggests to you. 

69 



7 o FOURTH YEAR 

This selection is well adapted for silent reading. Direct the 
children to read it through as quickly as possible. While the 
children are reading, place the following questions on the black- 
board : 

i. Who went on this trip ? 

2. Where did they go? 

3. What equipment did they carry with them? 

4. What advice did the older brother give about carrying things 
on a hiking trip ? 

5. Describe the site which the boys selected for a camp. 

6. How did they make camp ? 

7. Give an account of their first swim. 

8. How did they secure a boat ? 

9. Give an account of (a) catching a fish, (b) the preparation 
and eating of the evening meal, (c) the end of the day. 

When the children have finished reading, let them close their 
books, keeping a ringer marking the place, and direct them to 
answer these questions for themselves. If they are not sure 
of the answers, allow them to consult their books. If the class 
as a whole has not got most of the facts, it may be well to break 
up the selection into several parts and have the children read 
each of these for the answers to particular questions; for ex- 
ample, page 13 gives the answers to the first four questions, 
pages 14 and 15 answer questions 5 to 9, and the remaining 
pages answer 9 (b) and 9 (c). While the silent reading is being 
done, pass around the room and help the slower and less atten- 
tive children by asking questions which will stimulate them to 
read. As a summary, have the children answer the questions 
orally, correcting and supplementing each other's answers. 
Do not take the time to read the selection aloud. 

A SUMMER DAY (p. 18) 

Suggest a background by questions and directions like the 
following : How many of you have ever been up in summer 



OUT OF DOORS 71 

/ before the sun rose ? What color was the eastern sky ? Where 
0lse could you see the same color? What did you find on the 
^^flowers and grass ? Read the stanza in which the poet describes 
the picture he sees as morning dawns. Is the sun up yet? 
Read the second stanza. What change now takes place in 
the coloring? Read the line that tells of this change. De- 
scribe the picture that the line "Mists that melt above the 
sheaves" suggests to you. What else does the poet see as the 
mists melt and the sun comes up? What scene is pictured 
next? Read the stanza making us hear the rain as it falls. 
What scene is pictured in the last stanza? Do you actually 
see the cows in the lane ? How many are there, and what color 
are they ? Where is the sun now ? In what directions do you 
see the yellow, red, and purple skies, respectively? Compare 
the colors at sunset with the colors at dawn. What do you 
see as you read " Fireflies wink o'er hill and plain"? 

Get the children to close their eyes while some good reader 
in the class reads aloud the whole poem, and have them try 
to visualize the four scenes. 

AUTUMN (p. 19) 

Get a background for this selection by having the children 
visualize an autumn day. Aid the visualizing process by such 
questions and suggestions as the following: How does an au- 
tumn day differ from a summer day? How are the mornings 
different? How does the poet suggest this difference? What 
is happening to the nuts? To the berries? What berries do 
you find in autumn? What has become of the roses? How 
do the maple trees look at this season? How does the poet 
make us see the bright color of the maple leaves ? Account for 
the field wearing a scarlet gown. Might it refer to the bright- 
colored leaves that have fallen from the trees? What effect 
does all this beautiful color have upon the writer? Why do 



72 FOURTH YEAR 

you think this picture was selected for this page? Read the 
poem, trying to see as you read all the beauty and color that 
the writer saw. 

Have the class memorize this poem. (See discussion of 
memorization, pages 47-51, Manual.) 

Biographical note. — Emily Dickinson (1830- 1886) was the 
daughter of a professor at Amherst College, and lived a very sheltered 
and secluded life. Her exquisite short lyrics, however, are full of a 
whimsical originality and daring. Many of them were not pub- 
lished until after her death. Children will like " A Day," " The 
Bee," " The Grass," and perhaps "Chartless." 

GIGINO BECOMES AN ANT (p. 20) 

The explanatory note at the beginning of this selection sup- 
plies the necessary background. Read it to the children, tak- 
ing care to pronounce the name of the little boy very distinctly. 
When the reading is finished, write the name on the blackboard 
and have the children pronounce it. Have the children look 
at the picture, and explain that Gigino is the boy ant, sitting 
on the cocoon, and that the name of the other ant is Fus'ca. 
Write this name also on the blackboard and have it pronounced. 
Call the children's attention to the little feelers on each ant's 
head; explain that they are called antennae, and write this new 
word on the blackboard and have it pronounced. Tell the 
children that they will find out how useful antennae are to the 
ant as they read the story. Now let the whole class read the 
story silently and make note of any words that they do not know 
how to pronounce. After all have finished reading get from the 
children a list of the words that they do not know. 

In giving a word drill it is better practice to drill on words in 
their phrase setting than singly. For instance the children 
may call for the following words : regained, murmured, supe- 
rior, interrupted, sirup, pincers, sensitive, signal, problems, 



OUT OF DOORS 73 

(coon; but instead of placing the single words on the black- 
board, use the whole phrase, as follows : 

1. regained his senses 

2. murmured Gigino 

3. I am superior to all other ants 

4. his friend interrupted him 
etc. 

In the word study based on these phrases, have several chil- 
dren read aloud the phrase containing the word to be studied, 
until the correct pronunciation has become familiar. Then have 
the sentence in which the phrase occurs in the selection found 
and read aloud. Have the children say the same thing in their 
own words, replace the difficult word by a more familiar one, 
or, as may be done in the case of number 2 and number 3 above, 
read the sentence so as to show that the meaning is understood. 
Study all the unfamiliar words in the selection in this way. 

After the word study, proceed with the oral reading. Let 
one half the class close their books and be the audience while 
the others read the story to them. As a test of interest and 
understanding have the children answer in complete statements 
the questions on page 27. 

Biographical note. — Angelo Patri, the writer of this story, was 
born in Italy. He came to America when a young boy and is now 
principal of one of the large public schools in New York city. 

SPRING SONG (p. 27) 

Furnish a background for this poem by explaining its setting. 
Tell the children that it is part of a long poem about a little 
girl named Pippa, who works in a silk mill in Italy and who has 
only one holiday in the year. On this holiday she gets up early 
and goes for a long walk, passing the houses of the people whom 
she thinks "the happiest four in our Asolo." As she walks she 
sings, and this is one of her songs. Ask the class to read the 



74 FOURTH YEAR 

poem and then tell what they think Pippa saw, and how she 
felt as she walked and sang. 

After the poem has been read and discussed, have the pupils 
time themselves and see how quickly they can memorize it. 

Biographical note. — Robert Browning (1812-1889) was born 
near London, England. He received much of his early education 
at home, and grew up with a love for pictures and music. Brown- 
ing was very fond of Italy, and traveled there a great deal, and after 
his marriage he and Mrs. Browning made their home in Florence. 
Many of his poems have an Italian setting, like Pippa Passes, from 
which this song is taken. Children care for comparatively few of 
Browning's poems, but they usually like " Incident of the French 
Camp," Fifth Year, page 24, " The Pied Piper of Hamelin," Fifth 
Year, page 343, " Herve Riel," Seventh Year, page 307, " How they 
brought the Good News from Ghent to Aix," and " Home Thoughts 
from Abroad." 

THE LITTLE TADPOLE (p. 28) 

The pupils should read this selection silently to see if it is a 
good one to dramatize. When they have read it, ask such 
questions as the following: What do you think about it? Is 
there plenty of action? How many and what characters shall 
we need ? How many and what scenes shall we have ? What 
happens in the first scene? In the second? In the third? 
Where shall we have the first scene located? Where does the 
second scene take place ? The third ? 

If these questions cannot be settled after one reading, let 
the class re-read to get exact answers. When the necessary 
scenes and characters have been decided on, let the children 
select the actors needed. Have them next find out who talks 
in the first scene, who begins the conversation, and what the 
characters say to each other ; then let several children carry on 
the conversation of the first scene. Work out the second and 
third scenes in the same way, letting several groups of children 
practice the conversation. 



OUT OF DOORS 75 

Outline of Dramatization 

Characters 
The Lizard Eels 

The Tadpole Snails 

The Crawfish Fish 

SCENE I 
Place. The brook. 
Time. A sunny day. 
Action. The Lizard crawling about busily, attending to every- 
body's business. Sees the Tadpole. Conversation with the Tadpole. 

SCENE II 
Place. The brook. 
Time. The next morning. 
Action. The Tadpole in a state of great excitement. Cause of 
excitement explained. Disappointment. Attempt to pull off the 
Tadpole's front legs. 

SCENE III 
Place. The lizard's house. 
Time. A few days later. 
Action. The Tadpole losing his tail. The Lizard brings the 
Crawfish. The Tadpole becomes a frog. The Crawfish makes a 
discovery. 

Work out the dramatization scene by scene, letting the chil- 
dren refer frequently to their books to see just what happened. 
The conversations may be worked out orally only, or they may 
be written on the blackboard. 

See general suggestions for dramatization, pages 33-39, 
Manual. 

Biographical note. — Katherine Pyle is an American writer and 
artist. Other selections of hers in Story Hour Readings are " The 
Toys Talk of the World," Fourth Year, page 50, and " The Key to 
the Box," Fifth Year, page 158. The class will like to read her 
book, Prose and Verse for Children. 



76 FOURTH YEAR 

JACK FROST (p. 34) 

Begin the lesson with a little talk about frost pictures, lead- 
ing the conversation somewhat as follows : You have often 
seen the frost pictures on the windowpanes on cold winter morn- 
ings. What really causes them? What pictures have you 
seen? Who do we sometimes say painted them? To-day we 
are going to read a little poem called "Jack Frost," in which 
the poet describes the pictures that he sees. 

Explain that there are a few words and phrases which the 
class will need to know in order to read the poem well, and 
place on the blackboard the following list : 

penciled dales palm trees 

traced knights in armor gauzy wings 

castles towering high nodding plumes breath you breathe 

Have the class pronounce these words, and then have dif- 
ferent children select any word or phrase from the list and ex- 
plain it. When this word study is finished, read the whole 
poem aloud to the class, or have some good reader do so. 

Next take up the poem stanza by stanza, for content, mak- 
ing such suggestions as the following : Read the stanza that 
tells us that something unusual happened last night. Read 
the stanza that tells what Jack Frost did and how he did it. 
Read the stanza that tells what views are shut off and what 
takes their place. What word in the third stanza means the 
same as " penciled" in the second? Read the fourth stanza 
and describe for us the pictures that you see; the fifth; the 
sixth. Where does Jack Frost get his paint ? What does he 
paint? Read the poem silently and select the part that you 
like best, to read to the class. 

After the children have read and talked about the stanzas 
that they like, close the lesson by having the whole poem read 
aloud by some good reader. 



OUT OF DOORS 77 

Biographical note. — Gabriel Setoun is the pen name of Thomas 
Nicoll Hepburn (1861- ), a Scottish writer, who for years was 
headmaster of a school in Edinburgh, Scotland. " Romance " and 
" The World's Music " are other poems of his that the class will 
like to read. 

THE ANXIOUS LEAF (p. 36) 

This lesson is to be used as a test for speed and content. (See 
pages 13-17, Manual.) 

Have the children take from their desks blank sheets of 
paper, open their books at page 36, and cover the selection 
with the blank sheet. Then let them slip the paper down, 
uncovering the title, the name of the author, and the explana- 
tory note. They should have their pencils ready on their 
desks. As the rate of reading is increased if interest is aroused, 
introduce the lesson by interest-provoking questions, such as 
the following: What is this story about? Who wrote it? 
What is said about him? What do you think the leaf was 
anxious about ? 

Tell the class that when the signal is given they are to read 
just as rapidly as they can without missing the thought. Give 
the signal "Read," and at the end of the minute call "Time." 
Have each child mark the last word read, finish the selection 
as quickly as possible, and then answer the following questions, 
which should be placed on the board while the children are 
reading. 

1 . What was the little leaf heard to do ? 

2. Who told the leaf that it would pull it off? 

3. Who told it not to be afraid? 

4. How long did it grow ? 

5. What did it begin to do when it lay on the ground? 
Biographical note. — Henry Ward Beecher (1813-1887) was one 

of the most famous preachers of his time. He took an interest in 
public affairs as well as in religious matters, and was well known as 
a lecturer both in this country and in England. 



78 FOURTH YEAR 

LAUGHING SONG (p. 38) 

Read the poem aloud to the class and then have them re-read 
it silently. Help them to get the thought sequence and famil- 
iarize them with the wording of the poem by questions like the 
following : Name in order the things and people that are laugh- 
ing. What is said about (c) the green woods, (b) the dim- 
pling stream, (c) the air, (d) the green hill, (e) the meadows, 
(/) the grasshopper, (g) Mary and Susan and Emily, (h) the 
painted birds ? With what invitation does the poem close ? 

Let the class read the poem several times and then try to 
repeat it. 

Biographical note. — William Blake (1757-1827) is as famous for 
his drawings as for his poems. He was an engraver by trade, and 
prepared the plates of his own books, engraving, very often, not only 
the ornamental border for each page but the text itself. Besides 
illustrating his own poems, he made series of striking drawings for 
various other books, among them the Book of Job and other parts 
of the Bible. His poems are unlike most of the poetry that was 
admired at the time he wrote ; they are simple in language and often 
irregular in meter, and many of the subjects he chooses are like those 
preferred by Wordsworth — animals, flowers, children. Songs of 
Innoceyue includes much of his best work. " The Lamb," " The 
Tiger," " Piping down the Valleys Wild," " Nurse's Song," and 
" The Shepherd," are poems that children should read. 

See paragraph 9, page 68, Manual. 

SECTION II — FANCIFUL TALES 

Introduce the section with informal conversation, asking 
questions such as the following : What do we mean by Fanciful 
Tales? Glance rapidly at the pictures and the titles of the 
stories in this section. How do they differ from those in the 
first section? What Fanciful Tale that you have read do you 
particularly like? Does this section look interesting to you? 



FANCIFUL TALES 79 

Have the children select one pupil to read to the class the 
introductory paragraph on page 39. 

THE MAGIC BOWL (p. 41) 

Have the class read the story silently and make a list of any 
words that they do not know how to pronounce. Give a drill 
on the pronunciation of these unfamiliar words. Have them 
make a second list of words whose meaning they do not under- 
stand. In the drill on these words, get meanings from the 
context wherever possible, using the dictionary only where neces- 
sary. After the word study, call on one row to read the story 
to the rest of the class, letting the others close their books dur- 
ing the reading. Have each pupil read a thought group rather 
than a page or a paragraph. The following groups are sug- 
gested : 

1. To "seat for her," line 17, page 41. 

2. To "cap on his head," line 13, page 43. 

3. To "giant give him?" line 24, page 44. 

4. To "under his arm," line 3, page 47. 

5. To "the house," line 18, page 48. 

6. To the end. 

Another good plan is to have the conversation read as a dia- 
logue, a third pupil reading the necessary explanations. 

Summarize the lesson by having the class answer the ques- 
tions on page 49. 

Biographical note. — Jacob Abbott (1803-1879) wrote a great 
number of books for young people, mostly stories of an educational 
or instructive character. He lived at Farmington, Maine, and in 
New York. His Rollo Books were the best known of his many pub- 
lications ; these showed a boy named Rollo at work and at play, 
traveling in 'Europe, and studying at home. Abbott's histories of 
famous people were written partly in collaboration with his brother. 
The selection given here comes from Franconia Stories. 



80 FOURTH YEAR 

LOST (p. 49) 

Have the class read this selection silently; then ask ques- 
tions and make suggestions as follows: Explain how a horse- 
shoe nail could lose a kingdom. Suppose we had to write a 
new title for this selection, would "The Importance of Little 
Things" be a good title? Why? Have you ever got into dif- 
ficulty because you neglected some little thing? Tell us 
about it. 

Let the class re-read the selection once or twice and then 
try to repeat it. 

THE TOYS TALK OF THE WORLD (p. 50) 

Create interest by introductory questions like the following : 
Look at the picture on page 50. What is it? What toys do 
you see ? What do you suppose they are doing ? 

Have some child read the poem, and then ask questions to 
get at the content: Who began the conversation? Read the 
lines that tell us (a) what the vase said, (b) what the plaster 
bird said, (c) what the fat top said, (d) what the wooden don- 
key said. What did the kite and the ball do ? Why ? 

Let the class read the questions on page 51, and answer them. 

See page 75, Manual, for biographical note. 

DANDELIONS (p. 51) 

Begin with introductory conversation and questions: How 
many of you have ever seen a field or lawn or roadside covered 
with yellow dandelions? People often speak poetically of dan- 
delions as gold. Why? The blossoms very quickly change 
into seed. What name of a metal might you apply to them 
then, because of their color? 

Let the class read the poem silently, and question them to 
make sure they have grasped the content : How does the poet 



FANCIFUL TALES 81 

account for so many dandelions? What advice does he give 
about gathering them? 

Have the children re-read the poem orally and then try to 
repeat it. 

THE WONDERFUL WATERFALL (p. 52) 

Suggest a background for this lesson by having the children 
look at the picture at the top of page 52. Have them discover 
to what country the scene belongs. Explain that to-day's story 
is a Japanese fairy tale. 

Let the class read the selection through as rapidly as is con- 
sistent with thought getting. If they need speeding up in 
reading, let them read for one minute as in the tests (see pages 
13-17, Manual), mark the last word read in the minute, and 
then finish the story as quickly as possible. While the children 
are reading, put on the blackboard the following questions : 

1. Why did the woodcutter work so hard? 

2. Where was he working on the day on which this adventure 
took place ? 

3. As he stopped to rest, what did he see and what did he think? 

4. Why did he not kill the badger ? 

5. What did the badger do and say? 

6. What did the woodcutter find on the stone? 

7. What strange news did he hear when he arrived home? 

8. What happened the next day ? 

9. What happened ever after ? 

After the children have finished reading, have them answer 
the questions, first silently, re-reading if necessary, and then 
orally. They should read the explanations under notes 1 and 
3 at the bottom of page 55. 

Have the children pronounce the words listed under note 4, 
page 55. In this drill they should pronounce the word, then 
read the sentence in which it occurs, then either explain the 
meaning or use a synonym in place of it. 

S.H.R. MAN. 4-5-6 — ■ 6 



82 FOURTH YEAR 

Have each child tell the story, touching on the main points. 
Those who cannot do so at a first trial should re-read rapidly, 
and then try again. If one minute was devoted to reading for 
speed, close the period by counting the words read, recording 
the rate, and erasing the marks. 

Biographical note. — Mrs. Mary F. Nixon-Roulet is the author of 
several books describing the life of children in different countries, 
and of collections of Japanese and Indian folk tales. Other stories 
in this series by the same writer are " The Slayer of the Spotted 
Calf," and/' The Gift of Mondamin," Fifth Year, pages 182 and 203. 

THE CHILDREN AND THE DOG (p. 56) 

Introduce this lesson in the same manner as the previous 
one, with suggestions and questions about the picture, some- 
what as follows : Look at the picture. To what country does 
this scene belong? China is just across the sea from Japan, 
and to-day we have a Chinese story. What is the title of the 
story? What does the explanatory note say about this story? 

Have the children read the story as rapidly as is consistent 
with thought getting. Meanwhile, place on the blackboard 
the following questions : 

1. Why did all the children think Woo-Sing was such a wonderful 
man? 

2. What were some of the tricks which Yong- Yung's dog was to 
be taught ? 

3. Why did Woo-Sing call his boy Yong- Yung? 

4. What kind of dog was Si-Long ? 

5. What did the school children do when they met Si-Long? 

6. What did one boy tell his mother about the dog ? 

7. What did the mother say? 

8. What did she say about people ? 

When the children have finished reading, have them try to 
answer these questions. Those who cannot should re-read the 
story. 



FANCIFUL TALES 83 

After the questions have been answered orally, let the class 
read the suggestions and answer the questions on page 58, in- 
cluding the word study. Ask the children to tell the story to 
some one at home, after school, using in the narrative at least 
three of the words in the word-study list. Let them make sure 
whether they need to re-read it before telling it. 

THE WISHING-GATE (p. 59) 

Have the class read the introductory note, to stimulate 
interest in the story. This selection may be used for either 
silent or oral reading. If used for silent reading, see the sug- 
gestions on page 66. If used for oral reading have the children 
read silently and keep a list of words whose pronunciation or 
meaning they do not know. Place a complete list of these on 
the blackboard, drill on their pronunciation, and find their 
meanings, from the context if possible, if not, from the diction- 
ary. Then have one group read the story to the others, each 
child reading a thought group. Train the children to select 
logical thought groups. After the oral reading, the class should 
answer questions 2-7, inclusive, page 66. 

Following the oral reading, have a class-criticism period. 
In general, have the children tell which reading they liked, and 
why, ignoring the poor reading. Occasionally let them make 
courteous suggestions as to how certain children could improve 
their reading. 

Biographical note. — Louise Chollet was the pen name used by 
Louise E. Furniss in her contributions to Harper's Magazine. An- 
other selection by the same writer is " Moth and Rust," Sixth Year, 
page 265. 

See paragraph 9, page 68, Manual. 



84 FOURTH YEAR 

SECTION III — OUR ANIMAL FRIENDS 

Use questions and suggestions like the following to awaken 
interest in the new section : What animal friends have you ? 
Tell a short story about one of your animal friends. Glance 
rapidly at the pictures and titles in this section. How do you 
like them? Turn to page 67. Select some good reader to read 
this stanza to you. What does this stanza really say to you? 
Memorize it. 

Biographical note. — Samuel Taylor Coleridge (1772-1834) was 
one of the English poets of the Romantic Revival, a friend of Words- 
worth, a contemporary of Scott. This stanza is taken from his most 
famous poem, The Rime of the Ancient Mariner, in which an old 
sailor relates a wonderful adventure which befell him in the tropic 
seas. A great sea bird had followed the ship and had made friends 
with the crew. But one day the Ancient Mariner, then young and 
thoughtless, shot the friendly bird. As a result of his cruelty, the 
ship and her crew suffered strange and terrible experiences; and 
now that he has returned to his own country, he must wander about, 
telling the story to those whom he feels should hear it. The lesson 
he impresses is that of the stanza quoted here. The class may like 
to hear parts of the poem. 

A DOG'S OWN STORY (p. 69) 

Introduce this story by having the children look at the pic- 
tures and discuss them. Then let them read the story silently, 
as rapidly as is consistent with thought getting. When they 
have finished reading, have them tell the story in relays, each 
pupil giving a thought group. 

Have the class pronounce the list of words at the bottom of 
page 73, and use each word in a sentence. Call their attention 
to the excellent use in this story of such words as "slipped," 
"trudged," "squeezed," "scrambled," "hobbled," and have 
them read the sentence in which each of these words is found. 



OUR ANIMAL FRIENDS 85 

They should now re-read the story, each child watching out 
for words or expressions that he particularly likes. Ask each 
one to use as many of these words as he can in telling the 
story to some member of his family after school. Follow 
up this request by asking next day how many told the story 
at home. 

FAMOUS DOGS (p. 74) 

Introduce this lesson with conversation : How many of you 
own a dog? What breed of dog is yours? What breed of 
dog is the one in the first picture? In the second; third; 
fourth; fifth; sixth? 

Begin the word study by having the children pronounce the 
words in the list on page 77. Ask which of these words refer 
to countries ; which to breeds of dogs. Have the children use 
each of the following words in a sentence : rescue, conquered, 
renowned, docile, pitiless. 

This lesson should be read stanza by stanza, the teacher 
questioning and making suggestions as follows : Read the 
first stanza. For what work are St. Bernard dogs used? 
If you know any story of rescue work that these dogs have 
done, tell it to us after we finish the reading. Read the second 
stanza. What are the characteristics of the spaniel? Use 
another word in place of "docile." Read the third stanza. 
What does it tell us about Newfoundland dogs? (And so on, 
through the other stanzas.) 

Close the period with further interesting questions and sug- 
gestions, such as the following: Which of these dogs would 
you like to own? Why? What other kinds of dogs do you 
know? Tell any good dog story that you know. Would you 
like to collect pictures of dogs and make a class poster? If 
you are very fond of dogs perhaps you would like to make a 
dog booklet, containing pictures of dogs and stories about 
them. 



86 FOURTH YEAR 

RAGGLES (p. 78) 

Have the class read silently the introductory note and the 
selection. Give a pronunciation drill on the list of words on 
page 81. Let the children find and read the sentence in which 
each of these words is used, and then read the sentence, sub- 
stituting a different word which means the same. Have them 
answer the questions on page 81. Next have the story read 
orally by a small group of pupils, with class criticism to follow. 
Let the class read this story to the third grade. 

THE HORSE'S PRAYER TO HIS MASTER (p. 82) 

Have the class read the selection silently, noting any words 
of whose pronunciation or meaning they are not sure. When 
they have finished reading, ask questions and make sugges- 
tions : To whom is this prayer made ? Why ? Mention as 
many things as you can, for which the horse prays. Read and 
answer the questions on page 83. Read also the suggestions. 
What can you do to help animals ? 

NICHOLAS NYE (p. 84) 

Have the class look at the picture and comment on it ; then 
have the poem read orally, and let the children answer the 
questions on page 85. 

Biographical note. — Walter De La Mare (1873- ), a modern 
British poet, is the author of many charming lyrics. His verse is 
full of grace, music, and haunting beauty. He chooses simple sub- 
jects and with his magical touch makes them -poetic. De La Mare 
is one of the poets enjoyed by the young, the middle-aged, and the 
old. 

THE HORSE (p. 86) 

Have the class read the poem silently to get the content. 
The following questions will help : What is the picture in the 



OUR ANIMAL FRIENDS 87 

first stanza? Why was the sparrow not afraid? Why does 
the writer think the horse knew what the sparrow was doing? 
What does the horse say to the sparrow? What happens in 
the third stanza? Do you think the horse worries about the 
sparrow being ungrateful? This is a pleasant little poem be- 
cause both the horse and the sparrow are very real and matter- 
of-fact ; how would you describe each of them ? 

Have the poem read orally and let the children tell the story 
in their own words. 

Biographical note. — James Stephens (1882- ), is a modern 
Irish writer of stories and verse. His collection of Irish fairy tales 
is an especially fine one. 

IN NUTCRACKER LODGE (p. 87) 

This story can be used for either oral or silent reading. Read 
the introductory note to arouse interest, and then have the 
class look at the picture and find out what people are in this 
squirrel family. Have the children read the story silently, 
noting the unfamiliar words. Place a list of these on the black- 
board and drill on pronunciation. Have the children first find 
and read the sentence which contains the difficult word, then 
re-read the sentence, using a synonym for the difficult word. 
They should consult their dictionaries if necessary. 

Select a group to read the story orally and have this group 
make divisions of the story according to the thought. Direct 
the children to read the story in such a way as to bring out just 
how the various characters felt and talked. Allow the class 
to criticize the oral reading. 

Summarize by having the class answer the questions on page 93. 

GOD'S CREATURES (p. 93) 

Have the children read the poem, and tell what they think 
it means. Let them try to determine the animals described. 



8& FOURTH YEAR 

Biographical note. — Margaret Benson was an English writer. 
The poem from which this stanza is taken is called " Once on a Time." 
It tells how the writer, as a little child, liked to imgaine fairies every- 
where, ready to play with her, and how, since she has grown up, she 
finds her animal friends quite as interesting and lovable as she had 
dreamed the fairies could be. 

THE GRATEFUL ELEPHANT (p. 94) 

Have the class read the story silently, as rapidly as is con- 
sistent with thought getting. They should glance over it again 
very quickly to see if there are any words that they are not 
sure about. If there are, they should ask about them. Then 
have them tell the story. In doing this they should observe 
how very unusual it is that both these elephants can talk. 
Explain that this often happens in a folk tale. Have the class 
answer the questions on page 96, using their dictionaries as 
suggested. 

Biographical note. — Anne A. Stanley was a teacher in a large 
private school in New York when she recast this old tale. 

See paragraph 9, page 68, Manual. 

SECTION IV — ON THE FARM 

Begin the study of this section with an informal talk about 
farm life, and experiences which the children have had on the 
farm. Find out what they think most interesting in farm life, 
and give them an idea of the importance of farming. Have 
them glance at the pictures and titles in the section. Then let 
the class select a pupil to read the introductory paragraph on 
page 97. 

FARMER JOHN (p. 99) 

Introduce this lesson with talk about farm life, after this 
manner : How many of you have ever been on a farm ? How 



ON THE FARM 89 

does the farmer feel toward his horses, cows, and other ani- 
mals? Suppose this farmer should visit in the city for some 
time, what probably would be one of the first things that he 
would do when he arrived home ? To-day we are going to read 
about a farmer who loved the simple life of the farm, his sur- 
roundings, and his animals. He has just returned from a visit 
to the city. Let us see what he did. 

Have the poem read orally. For study and interpretation 
use the suggestions and questions on page 102. 

Biographical note. — John Townsend Trowbridge (1827-1916) was 
an editor, novelist, and poet, as well as a writer of juvenile stories. 
Among his best-known stories for young people are The Drummer 
Boy, The Prize Cup, and The Tide-Mill Stories. The class may like 
his " Evening at the Farm," and " Darius Green and his Flying 
Machine," Seventh Year, page 270. 

IN ORCHARD AND GARDEN (p. 102) 

Have the class read this poem silently. When they have 
finished, ask questions like the following : What time of year 
is it ? What is happening ? What is said about the delicious 
bunches of grapes? What is the meaning of "nectarine"? 
Consult your dictionary. How does the poet get the nectarine 
and peach? What else does he find in the garden? What 
word or words would you probably have used instead of "en- 
snared " ? Would you like to be in this garden and orchard? 

Close the lesson by having some child read the selection orally. 

Biographical note. — Andrew Marvell (1621-1678) was an Eng- 
lish poet and prose writer. He traveled abroad, was tutor in several 
families, became foreign secretary under Cromwell's government, 
and served as a member of Parliament during the reign of Charles 
II. His poems on country life were probably written at an Eng- 
lish country house, where he was tutor to a little girl twelve years 
old. 



9 o FOURTH YEAR 

SPECIAL KINDS OF FARMING (p. 103) 

The section on "Dairying" is to be used for a speed test. 
For directions see pages 13-17, Manual. 
The following test questions are suggested : 

1. How many cows were there? 

2. Why did the farmer keep so many ? 

3. How are the cows milked? 

4. To what place is the milk first sent in the city ? 

5. After the milk is heated and bottled, what is done next? 

After the test is completed, have the class read silently the 
section on " Truck Farming." They should be able to answer 
the following questions : What is truck farming ? How does it 
differ from other kinds of farming? Where do the people in 
cities get their vegetables from? How are the vegetables sent 
to the city? 

The section on "Kitchen Gardens" should also be read 
silently. When the reading is finished, ask such questions 
as the following : How is the soil prepared for a kitchen 
garden? Name some vegetables that can be grown in one. 
Why does it pay to have one ? 

To sum up the whole selection, let the class read and answer 
the questions on page 105. 

A BARNYARD STORY (p. 106) 

Have the class read the poem silently, as a preparation for 
oral reading. Then let them read and answer the questions on 
page 108. They should look through the list of words under 
"Word Study" and be prepared to give the meaning of each. 
Then have them read the poem aloud. 

Biographical note. — Phcebe Cary (1824-1871) was born on a 
farm in Ohio. She and her sister Alice were from their childhood 
fond of books and reading, and they were largely self-educated. 



ON THE FARM 91 

They both began to write verse while still young girls and were much 
delighted when publishers began to accept it. After a time their 
work attracted the attention of literary people in New York, and 
they decided to go there to live. They became very popular writers, 
and some of their poems and hymns are still familiar. " The World 
Owes me a Living," Fifth Year, page 80; " Nobility," Fifth Year, 
page 137 ; " An Order for a Picture," Eighth Year, page 423 ; and 
"The Gray Swan," are by Alice Gary; the familiar hymn, "One 
Sweetly Solemn Thought," is by Phcebe Cary. 

THE PRUDENT FARMER (p. 109) 

Read or tell the explanatory note to the class, then have them 
read the selection to see how they would change the story if 
they were telling it. Let them tell the story in relays, using 
the following outline : 

1 . The farmer sets out for town and buys a piece of advice. 

2. He buys the second piece of advice. 

3. He buys the third piece of advice. 

4. He returns home and a merchant makes him an offer. 

5. The farmer takes the crooked road. 

6. The farmer refuses to stop at the inn where the host is old. 

7. The farmer saves half of his anger until the next day. 

Have members of the class suggest changes that they would 
make in telling the story. Use the questions and suggestions 
for word study on page 113. 

Biographical note. — Edouard Laboulaye (1811-1883) was a 
French jurist and writer on political subjects. He also collected a 
book of tales derived from various sources. 

LIFE ON THE FARM (p. 114) 

Explain to the class that this is a letter which a boy living 
on a farm has written to a cousin in the city to tell him about 
farm life. Then have them read it silently and rapidly, timing 



92 FOURTH YEAR 

themselves, and see how many of the following questions they 
can answer after one reading : 

i . What was to be exhibited at the school ? 

2. What other work was being done at school by the boys? 

3 . How did the pupils get to the school ? 

4. How do the country houses compare with the city houses? 

5 . What are tractors and for what are they used ? 

6. What amusements do country children have in winter? 

7. What work must be done in spring? 

8. What is done at harvest time ? 

9. Describe the harvesting of wheat and oats. 

10. Why is the threshing a time of great interest? 

1 1 . What chores did Dick do ? 

12. Would you like to live on a farm? Why, or why not? 

See paragraph 9, page 68, Manual. 

SECTION V — THE GLAD HOLIDAYS 

Introduce this section with questions like the following: 
Name the holidays. Which do you like best? Why? How 
do you celebrate the different holidays? Glance through the 
section and see what holidays are mentioned. 

Have the class select a pupil to read the introductory para- 
graph on page 117. The following questions are suggested: 
What do we mean by red-letter days ? Have you any red-letter 
days in your calendar which are not holidays ? What holidays 
are red-letter days in your life ? 

A HALLOWEEN SHOW (p. 119) 

Let the class read the selection silently. Make use of the 
questions and suggestions on page 125. Divide the class into 
groups, appoint a director for each, and let each work up one 
scene. Throw the responsibility upon the children and see 
what they will do. Act only as an adviser of the groups. 
See the directions for dramatization, pages 33-39, Manual. 



THE GLAD HOLIDAYS 93 

THE THANKSGIVING GIFTS (p. 126) 

Have the children study the picture on page 126 and guess 
at what is happening. Suggest that the class read the story 
to find out. After the children have read the story, let them 
go back and make a list of all unfamiliar words. Give drill on 
these as in previous lessons; writing the list on the blackboard, 
and having the children pronounce the words, read the sen- 
tences in which they occur, and substitute synonyms. Finally, 
let them read the selection orally, as in previous lessons, and 
answer the questions on page 129. 

WE THANK THEE (p. 130) 

Introduce this lesson by an informal talk about the many 
things we have to be thankful for. Make a list of these things 
on the blackboard as they are named. Then call upon some 
good reader to read this poem of thanksgiving. After the 
reading, write down in order the things for which the poet is 
thankful, and have the children compare the list with the one 
they have just made, to discover what they thought of which 
the poet omitted, and what the poet included which they left 
out. Have another good reader read the poem aloud. Sug- 
gest that the class close their eyes and try to see each thing 
named as the reader reads. Have the poem read two or three 
times and let the class read it again silently. Then let them 
try to repeat it, using the list of words on the blackboard to 
suggest the order, if necessary. Have the class read and repeat 
the poem until it is memorized. Review it frequently. See 
suggestions for memorizing, pages 47-51, Manual. 

A TURKEY FOR THE STUFFING (p. 131) 

See page 36, Manual, for complete plan of dramatization. 
The questions on page 136 furnish additional study material. 



94 FOURTH YEAR 

A THANKSGIVING CREED (p. 136) 

This selection is to be memorized. (For directions see pages 
47-51, Manual.) Introduce it by explaining what a creed 
is, somewhat as follows : Sometimes we hear people talk about 
their creed. By creed they mean a statement of what they 
believe. To-day we are going to memorize a Thanksgiving 
Creed. What would such a creed be likely to contain ? 

Have the class read the selection and look at it, sentence by 
sentence, to see for what things the author is thankful. Make 
a list on the blackboard of the key words of each sentence : 

1. family, friends 

2. home, clothes, meals, bed 

3. chance, school, educated 

4. country, Liberty prevails, worship, wish, endless opportunity, 
desire. 

Call attention to the fact that each sentence begins with 
"I am thankful." 

Ask what words might be used in place of (a) prevails, 
(b) opportunity, (c) desire. Let the class read the selection 
over silently two or three times and then see how much of it 
they can repeat. Have them study it until they can recite it 
accurately. 

A VISIT FROM ST. NICHOLAS (p. 137) 

Introduce this lesson by picture study, asking questions like 
the following : What is happening in this picture? What sea- 
son is it ? What time of day ? 

Read the poem to the class or have some good reader do so. 
Have the class re-read the line in which each of the following 
words occurs and substitute another word for the one listed: 
page 137 — nestled, line 6; visions, line 7; clatter, line 10; 
page 138 — luster, line 4; miniature, line 6; coursers, line 9; 
hurricane, line 17; obstacle, line 18; tarnished, line 26. 



THE GLAD HOLIDAYS 95 

Let the children tell in a few sentences what happened in 
this poem. Then let them re-read the poem as a whole. 

Biographical note. — Clement C. Moore (1779-1863) was a pro- 
fessor in a theological school in the state of New York. At Christmas 
time, 1822, he wrote this poem to amuse his children. The next 
year it appeared in the Troy Sentinel, but without the writer's name 
or permission. It was included in the author's collected poems, 
published more than twenty years afterwards, and has become perhaps 
the most popular Christmas poem. 

THE FIR TREE (p. 140) 

Have the class look at the pictures for this story. Ask 
questions like the following : What time of year is it in the 
picture on page 140? What kind of trees are the two snow- 
covered ones? What makes you think that they are ever- 
green or fir-trees? Look at the picture on page 145. What is 
happening here ? Is this the same fir tree that we saw covered 
with snow? What do you think has happened that it is now 
being chopped into pieces? Let us read the story rapidly and 
silently and find out. 

After the class have finished reading have them tell the story, 
using the following outline : 

1. Early life and wish of the little fir tree. 

2. The sparrows tell about Christmas trees. 

3. The fir tree becomes a Christmas tree. 

4. Being decorated. 

5. Christmas Eve experiences. 

6. Removal to the attic, and life and thoughts there. 

7. Removal to the back yard. 

8. The end of the tree. 

The class should also read the explanatory notes on page 
140, and read and answer the questions on page 145. 



96 FOURTH YEAR 

Biographical note. — Hans Christian Andersen (1805-1875) was 
the son of a Danish shoemaker. He left his native village to go to 
Copenhagen, hoping to succeed on the stage, but as he was quite 
untrained and uneducated he found it impossible to make even a 
beginning. Fortunately he found influential friends, who helped 
him to get a good education and afterwards got him a pension from 
the king, which enabled him to travel. He wrote several books of 
travel which were very popular at the time, but his Tales are now 
recognized as his best work. These are not simply folk tales 
transcribed, like those collected by the brothers Grimm, but are 
stories of imagination and fancy, sometimes but not always founded 
on a folk tale, often satiric or moral in intention, but invariably 
consciously artistic in construction. This last is almost never true of 
the folk tale proper. . " The Flax," Fourth Year, page 225, " The 
Steadfast Tin Soldier," Eighth Year, page 321, " The Snow Queen," 
" The Ugly Duckling." " Tommelise," " The Real Princess," and 
" The Darning Needle," are stories that the class should enjoy. 

THE NEW YEAR (p. 146) 

Let the children study the picture at the top of the page 
and guess what is meant by the old man and by the child. 
Then have them read the poem silently and afterward give in 
their own words the thought of each stanza. Have the poem 
re-read orally. 

Biographical note. — Lucy Larcom (1826-1893) was born at 
Beverly, Massachusetts. In her girlhood, manufacturing was 
coming to be a very important industry in New England, and many 
girls who wanted a little money of their own or who wished for more 
education than their parents could afford to give them worked in 
the mills, especially at Lowell. Lucy Larcom went to work for a time 
at Lowell, and while there contributed verse to a paper, The Lowell 
Offering, which was published for the mill workers. Her work 
attracted the notice of the poet Whittier, who encouraged her to go 
on writing, and with whom she afterwards collaborated in compiling 
two volumes of verse. After leaving Lowell she studied at a school 



OUR COUNTRY 97 

in Illinois, taught for a while in a school for girls, and finally became 
editor of a magazine for children which was afterwards merged into 
St. Nicholas. She wrote both verse and prose. 

See paragraph 9, page 68 ; Manual. 

SECTION VI — OUR COUNTRY 

Talk informally about what our country means ; the great 
cost of our freedom, in life and suffering ; what we owe to our 
country ; how we can pay the debt we owe to our country. 

Explain that this section will tell of some of the struggles 
and hardships which were necessary in order to make our coun- 
try as great and beautiful as it is. 

Have the class select a pupil to read the introductory para- 
graph on page 147. This paragraph is worth learning, and the 
class should see how quickly they can memorize it. 

THE SHIP OF STATE (p. 149) 

Begin this lesson with informal conversation, bringing out 
the idea that our country is frequently called the " Ship of 
State," and showing why. Have the class study the picture on 
page 148. Point out that here our country is represented as the 
Ship of State. Call attention to the figure of Liberty carved on 
the prow, and let the children explain why the artist placed 
this figure there. Have them notice the flag flying from the 
masthead. Explain to them by referring to the picture what 
is meant by the keel of the ship, the mast, " ribs of steel." 
Explain that the selection this picture illustrates is part of a 
poem of Longfellow's, called " The Building of the Ship," in 
which he refers to our country as the Ship of State. 

Read the selection to the class and ask such questions as the 
following: What name is applied to our country in line 1? In 
line 2 ? How does the poet tell us that people everywhere are 

S. H. R. MAN. 4-5-6 — 7 



98 FOURTH YEAR 

interested in and anxious about what happens to our country ? 
Explain that lines 6 and 7, page 149, and 1-4, page 150, refer 
to the formation of the Union at the close of the Revolutionary 
War, and that when the children study history they will learn 
how difficult it was to make a Constitution for our country. 
Have them guess at whom Longfellow means by the " Master " 
and the " Workmen." Ask them to find the lines where the 
poet tells us not to be afraid of every little difficulty that our 
country has to meet. (Lines 5-1 1 , page 1 50.) Have them read 
again the last four lines of the poem. As a word-study exer- 
cise, let them answer question 4, page 150. Close the lesson by 
reading the poem again. 

Biographical note. — Henry Wadsworth Longfellow (1807-1882), 
was born in Portland, Maine. His poem, " My Lost Youth," gives 
a picture of the town and of his life there as a boy. He studied at 
Bowdoin College, and afterwards traveled in Europe, coming back to 
be a professor at Bowdoin. Later he had another trip abroad, and 
became professor of modern languages at Harvard. After eighteen 
years in this position he was able to resign and to give all his time to 
writing, as he had always wished to do. He continued, however, to 
live in Cambridge, in the interesting old house that had been Wash- 
ington's headquarters. 

Longfellow began to write while still a schoolboy ; his last poem, 
" The Bells of San Bias," was finished only nine days before his 
death. His two long poems, Evangeline and Hiawatha, both deal 
with American scenes and characters ; in each the meter is one that 
Longfellow chose as specially adapted to his subject. His shorter 
poems are simple and pleasant in meter and language ; the pictures 
they paint are often beautiful and vivid ; and the thought is usually 
one that can be understood and shared by all his readers. As a 
result of this clearness and beauty, most children can begin to like 
and enjoy poetry by reading Longfellow. 

Extracts from Evangeline and Hiawatha in this series are " The 
Building of the Canoe," Fifth Year, page 187, and " Evangeline," 
Eighth Year, page 399; there are other parts of both these poems 



OUR COUNTRY 99 

that the class should read. Among the shorter poems of Longfellow 
that children like are " The Village Blacksmith," Fourth Year, 
page 217, " The Arrow and the Song," Fourth Year, page 308, " A 
Psalm of Life," Fifth Year, page 166, " Rain in Summer," Fifth 
Year, page 251, "The Unbroken Song," Fifth Year, page 317, 
" The Wreck of the Hesperus," Sixth Year, page 101, " Daybreak," 
Eighth Year, page 404, " The Children's Hour," " The Skeleton in 
Armor," and " A Dutch Picture." Many of the Tales of a Wayside 
Inn are excellent stories in verse, especially " Paul Revere's Ride," 
Fourth Year, page 168, " King Robert of Sicily," and " The Bell 
of Atri." 

HOW AMERICA WAS DISCOVERED (p. 151) 

Have the children read the selection through, rapidly and 
silently, timing themselves to see how long it takes. They 
should be able to read this selection in less than ten minutes. 

Tell the class to suppose that this selection is to be included 
in a little book of history stories. Explain that most books of 
such a kind have a heading for each paragraph, and show them 
books in which paragraph headings are used, reading a few of 
the headings. Ask them why it is a good thing to have para- 
graph headings, and point out that the heading should be brief 
and should tell in a few words what the paragraph is about. 

Take up the selection paragraph by paragraph, having the 
children read each and suggest a heading for it. Let the class 
select the best headings, and write on the blackboard the ones 
finally chosen. These may be somewhat like the following: 

1. Early life of Columbus. 

2. Columbus becomes a sailor. 

e 

3. The known world at this time. 

4. Eastern trade and trade routes. 

5. The Turks get control of the trade routes. 

6. Need of a new route. 

7. The great question. 



ioo FOURTH YEAR 

8. Columbus has a new idea. 

9. Columbus asks aid of the king of Portugal. 

10. The king thinks the plan worth trying. 

11. The secret voyage. 

12. Failure. 

13. Columbus decides to ask aid of the king of Spain. 

14. He arrives at the convent. 

15. He tells his story. 

16. Father Perez cheers him. 

17. Discouragements and success. 

18. Making ready for the voyage. 

19. The ships depart. 

20. Columbus refuses to turn back. 

21. Signs of land. 

22. The discovery of an island. 

23. The landing. 

24. The natives come. 

25. Columbus visits other islands. 

26. Why the people were called Indians. 

27. The return to Spain. 

28. America is discovered. 

After completing the outline, the children should give the 
main points on each topic and re-read any paragraphs in which 
they have not grasped the main thought. 

The following, words may need special attention; certainly 
pupils should be drilled on their pronunciation. 

Madeira (ma-de'ra) Genoa (jen'o-a) Palos (pa'los) 

Diego (de-a/go) Perez (pa'rath) Nina (ne'na) 

Santa Maria San Salvador 

(san'ta ma-re'a) (san salVa-dor'j 

COLUMBUS AND THE EGG (p. 159) 

Have the class read the story silently in order to be able to 
tell it, each child making a list of the words that he is not sure 



OUR COUNTRY 101 

he can pronounce or give the meaning of. After these words 
have been studied in the usual way (see page 72, Manual) 
several children should tell the story. 

TWO LITTLE AMERICANS (p. 160) 

The class should read the note at the top of the page and then 
read each letter orally. Develop interest by suggestions like 
the following: Why are these letters interesting? Write a 
letter to a friend. See if you can make it as interesting as 
these letters are. 

THE YOUNG SURVEYOR (p. 162) 

Explain that this is another selection that might be included 
in a book of history stories. Let the class read the story si- 
lently, each making a list of unfamiliar words. Give a class 
word drill on these (see page 72, Manual). Point out again the 
two important characteristics of a good heading (page 99, 
Manual), and have the class read the story paragraph by para- 
graph and decide upon a heading for each. Classes of unusual 
ability should be allowed to read the whole selection through, 
and make headings for the paragraphs as they read. When 
the work has been finished, they should compare headings, and 
the teacher should write the two or three best on the blackboard 
and have the children select the best of these. 

Classes of average ability, however, will need to work out the 
headings paragraph by paragraph as suggested above. Ask 
questions to bring out the main thought of each paragraph. 
After the headings have been made, have the children tell the 
story, following the outline of headings which has been placed 
on the blackboard. Have each pupil re-read any paragraph 
in which he has failed to get the thought. 

Sum up by having the class answer the questions on page 
167. This treatment may require two or three lesson periods. 



102 FOURTH YEAR 

The f olldwing paragraph headings are suggested ; 
i . Early life. 

2. George's mother. 

3. Sports and stud}-. 

4. George wishes to become a sailor. 

5. Visits to Mount Vernon. 

6. Surveying trip. 

7. Greenway Court. 

8. The first survey. 

9. Life in the forest. 

10. A band of Indians. 

1 1 . An Indian war dance. 

12. Adventures. 

13. The return home. 

Biographical note. — John Esten Cooke (1830-1886) was a Virgin- 
ian writer. His historical romances deal with the history of his 
native state. Other selections by him in this series are " In the Wil- 
derness," Fifth Year, page 326, and " John Marshall of Virginia," 
Seventh Year, page 224. 

PAUL REVERE'S RIDE (p. 168) 

Explain to the class the situation that led to Paul Revere 's 
ride. (See note 1, page 173.) Have the class look at the pic- 
ture on page 168, and ask questions like the following: What 
do you think is happening? Imagine that at the time of the 
Revolution you were living in one of the homes of Lexington ; 
if you had been awake on the night of the 18th of April, 1775, 
what might you have heard? 

When the background and the story are sufficiently clear, 
read the poem to the class. 

Have the class study the poem topically, by stanzas. Use 
questions and suggestions like the following : 

Read the stanza that tells us what the poem is about and 
when this event happened. Read the stanza that answers or 
suggests the following groups of questions : 



OUR COUNTRY 103 

1. What did Paul Revere say to his friend? What is a bel- 
fry arch ? A signal ? 

2. What did Paul Revere see as he rowed to the Charlestown 
shore? What word or words might 3/0 u use in place of (a) 
phantom, (b) huge, (c) magnified, (d) reflection? 

3. What was his friend doing while Revere was rowing to 
the Charlestown shore ? What are (a) barracks, (b) grenadiers ? 

4. What did the friend do when he heard the soldiers march- 
ing down to the boats ? What different experiences did he have 
as he climbed this tower ? What finally claimed his attention ? 

• 5. What was Paul Revere doing at this time? What did 
he suddenly notice ? 

6. Describe the starting out of Paul Revere. What is 
meant by " the fate of a nation was riding that night "? 

7. What does the eighth stanza tell us? The Mystic, men- 
tioned in this stanza, is a river which flows into Boston Harbor 
near Charlestown. 

8. What happened at twelve o'clock, and what did Paul 
Revere hear and feel? What did he see as he galloped into 
Lexington ? 

9. Describe, by reading, Revere's entrance into Concord. 
Explain lines 15 to 19, page 172. 

10. What happened that day in Concord? How had the 
people been aroused? Re-read the last six lines of the poem. 
What do they mean ? 

After this discussion and reading of the poem stanza by 
stanza, re-read the poem as a whole. 

For biographical note see page 98, Manual. 

SONG OF MARION'S MEN (p. 174) 

Have the children read the explanatory note on page 174; 
then read the poem aloud to them. 

Discuss the poem with the aid of questions and suggestions 



io 4 FOURTH YEAR 

like the following : What kind of army did Marion have, and 
how did they live? Read the stanza that answers each of the 
following questions: i. Why did the English soldiers dread 
this band? 2. What did Marion's men do when the battle was 
over? 3. What were some of the sights that the friendly moon 
saw? 4. What does the last stanza tell us? 

Summarize by having the class answer the questions on page 
176. At the close of the lesson have the poem re-read orally 
by members of the class. 

Biographical note. — William Cullen Bryant (1794-1878) was 
a descendant of the Pilgrims, and was brought up in the strict Puritan 
fashion. His home as a boy was in the picturesque hilly country 
of western Massachusetts, and almost all his poems show the influence 
of two forces — the love of nature and the spirit of Puritanism. 
His father was a country doctor, and Bryant's education was inter- 
rupted and made difficult by poverty. He had about a year of college, 
then studied law and practiced for several years. In 1825 he went 
to New York and gave up law for journalism. He became editor 
of The New York Evening Post, and was an important figure in the 
literary and political life of the city. 

Many of Bryant's best poems were written before he was thirty, 
while he was still engaged in his uncongenial law practice. His 
poetry is often compared with Wordsworth's on account of its sim- 
plicity and dignity and the attitude toward nature which it reveals. 
Children should be familiar with " Robert of Lincoln," Fourth Year, 
page 278, " The Gladness of Nature," Sixth Year, page 31, " The 
Planting of the Apple Tree," Sixth Year, page 203, " To a Waterfowl," 
Seventh Year, page 190, and " To the Fringed Gentian." 

ABRAHAM LINCOLN'S SCHOOL DAYS (p. 177) 

Let the class look at the picture on page 177 ; arouse interest 
by questions and suggestions like the following: Who is this 
young man and what is he doing? Why does he read by the 
light of the fire? Let us read the story silently and see how 
life at that time compares with life nowadays. 



OUR COUNTRY 105 

After they have read the story silently, have the children re- 
tell it using the following outline : 

1. Conditions in backwoods settlement. 

2. The schoolhouse — floors, windows, desks, heat. 

3. The school — length of term, time of year, pupils, studies, 
length of school day. 

4. Time Lincoln spent at school. 

5. Home reading — what he read, memorizing, light. 

6. The borrowed book — the journey after the book ; the book 
ruined ; paying for the book ; Washington his hero. 

7. The neighbor's remark. 

If the children cannot give the main thoughts on each topic 
after one reading, have them re-read and then tell the story 
topic by topic. 

Summarize with the help of the questions and suggestions 
on page 180. 

Biographical note. — James Baldwin (1841- ) is an American 
author and editor, born in Indiana, and now living in New Jersey. 
His writings include several volumes of stories from history and liter- 
ature retold for children. In his early manhood Dr. Baldwin was 
a teacher and superintendent of schools in Indiana. Then he became 
an editor for Harper's, and afterwards for the American Book Com- 
pany. Because of the literary quality of his retold stories, he has 
been aptly called " The Hawthorne of school literature." (See 
reading lists in Fourth, Fifth, and Sixth years for books to recommend 
to the class.) 

Other stories by the same author in this series are "Grace Dar- 
ling," Fifth Year, page 106, "A True Hero," Sixth Year, p. 154, "The 
Sons of Feridoun," Sixth Year, page 309, "Who is the Happiest Man? " 
Sixth Year, page 361, "A Great Citizen," Sixth Year, page 379, 
"How Kilhugh Rode to Arthur's Hall," Seventh Year, page 18, "The 
Wonderful Artisan," Seventh Year, page 39, and "French Life in the 
Northwest," Seventh Year, page 77. 



106 FOURTH YEAR 

A SONG OF OUR FLAG (p. 181) 

This selection is to be memorized. (See pages 47-51, 
Manual.) 

Introduce the poem by a talk about the flag ; what it stands 
for and why we love it. Then read the poem to the class. 

Discuss the poem to get the thought sequence, using ques- 
tions like the following : What are some of the things which the 
flag holds ? How does the sight of the flag affect us ? When is 
it sun-kissed and wind- tossed? What is the meaning of " Glo- 
rified all else beside "? Read the second stanza. What does 
it say about the Stars and Stripes? What is the flag to us? 
What name is applied to the flag in the last line? How does 
Old Glory respond to our salute? 

Have the poem read aloud by three or four good readers, ask- 
ing the children to see how much of it they can learn from the 
readings. Then let them see how much of it they can repeat. 

Continue on the plan outlined on page 51, Manual, until 
the poem is memorized and then review it frequently. 

Biographical note. — Wilbur D. Nesbit is a well-known American 
writer of articles, stories, and verse for newspapers and magazines. 
He is a resident of Chicago. 

MY COUNTRY, 'TIS OF THEE (p. 182) 

Introduce the reading of the poem with queries and sugges- 
tions : How many of you know this poem as a song ? What 
is it about ? To what do lines 4 and 5 of the first stanza refer ? 
Why is America the "sweet land of liberty "? The theme of 
the song is liberty and freedom. What reference is made to 
freedom in the first stanza? In the second? In the third? In 
the fourth? In the second stanza the author tells of his love 
for his country. What does he say? Because of his love for 
America, what does he want all nature and all people to do? 



OUR COUNTRY 107 

Read the first three lines of the fourth stanza. Who is the 
"Author of liberty"? The poem closes with a prayer; for 
what does the writer pray? Let us sing this song and think 
what each line means as we sing it. Why should every Ameri- 
can know the words of this song? Let us see if we can sing 
them without referring to the book. If we cannot, let us learn 
them to-day. 

Biographical note. — Samuel F. Smith (1808-1895) was a classmate 
at Harvard of Oliver Wendell Holmes. His famous poem was 
written after he left college, and was first sung at Park Street Church, 
Boston, July 4, 1832. Holmes said of him, " Fate tried to conceal 
him by naming him Smith." 

PATRIOTS (p. 183) 

Introduce the study of this poem by informal conversation 
on " Who are patriots? " Then read the poem aloud to the 
class. Ask questions like the following to make the content 
clear : Of what do patriots think first ? How do they feel about 
their country ? What will they do when their country is right ? 
When it is wrong? Name some ways in which our country's 
honor is kept bright. What patriots can you think of who 
served their country in these ways? 

Have the poem re-read orally. 

Biographical note. — James T. Fields (1817-1881) was born in 
Portsmouth, New Hampshire. He came to Boston, and for a while 
was clerk in a bookseller's shop. He soon began to write for news- 
papers and magazines, and later became partner in a publishing 
house. As publisher of the works of many of the leading American 
and English writers of the nineteenth century, he made interesting 
friendships and was in close touch with the literary life of the English- 
speaking world. He succeeded James Russell Lowell as editor of 
the Atlantic Monthly. An interesting letter of Dickens to Mrs. 
James T. Fields is given on page 132, Eighth Year. 



108 FOURTH YEAR 

PLEDGES (p. 184) 

Introduce this lesson by a talk about pledges. The following 
questions and directions to pupils are suggestive : What do 
we mean by a pledge? What pledge have any of you made? 
To-day we are going to study a different kind of pledge. Look 
at the picture. What kind of pledges are these going to be? 
Why do you think so? Let us read the first pledge. Suggest 
another word in place of " allegiance." What do you under- 
stand by "one nation, indivisible, with liberty and justice for 
all"? For what republic does our flag stand? Let us read 
this pledge again. How much of it can we repeat without look- 
ing at the book ? Let us see how quickly we can memorize it. 

Let the children study the other pledges now, but do not 
have them try to memorize more than one at this time. Go 
back to the others later. After the study of the second and 
third pledges, let them carry out the suggestions at the bottom 
of the page. 

Point out that the second pledge starts out with "I believe 
it is my duty to my country," and then state six different 
duties. Ask the children to name these, and write the key words 
on the blackboard as given : 

1. Love 4. Obey laws 

2. Honor 5. Respect flag 

3. Support Constitution 6. Defend 

When the second pledge is to be memorized, let the children 
read it carefully again, and then repeat it by referring to these 
key words. Have them practice until they can say it without 
referring to the blackboard. 

Have the children study the third pledge to find out to whom 
it is made, and what is pledged. They will memorize it easily. 

See paragraph 9, page 68, Manual. 



FOLK STORIES 109 

SECTION VII — FOLK STORIES 

Begin the study with questions and suggestions like the fol- 
lowing : What are Folk Stories ? Read the introductory para- 
graph on page 185. What kind of stories do you expect to find 
in this section? Glance through the titles to see if you are 
right. 

THE COMING OF SEEGWUN (p. 187) 

Read the introductory note to the class, and then have the 
class read the story silently and rapidly. As there are no dif- 
ficult words, omit the word study. Direct the children to pro- 
nounce the Indian names phonetically. Have the story read 
orally, as in previous lessons, with class criticism of the oral 
reading. Make use of the suggestions and questions on page 190. 

For biographical note see page 82, Manual. 

THE APE AND THE FIREFLY (p. 191) 

Awaken interest by questions like the following : How many 
of you have ever seen a firefly? Read the title of this story. 
Isn't this an unusual name for a story? What do you sup- 
pose happened? Read the story and find out. 

After the first silent reading, let the class glance over the 
story again quickly and make a list of the unfamiliar words. 
Then give the usual word drill, followed by oral reading of the 
story, with class criticism of the reading. Have the children 
answer the questions on page 193. 

WOO SING AND THE MIRROR (p. 194) 

This lesson should be used as a test. See directions for 
giving tests, page 13-17. 

1. Where did Woo Sing's father get the mirror? 

2. What did Woo Sing think he saw when he first looked into the 
mirror? 



no FOURTH YEAR 

3. Why did he become angry? 

4. What did he finally do to the mirror? 

5. What did his father tell him would happen in real life, if he 
struck without cause ? 

GLOOSKAP AND THE FROG CHIEF (p. 196) 

Suggest to the children that it is quite probable that the pu- 
pils in either the second or the third grade of the school are mak- 
ing a study of Indian life, and that they would enjoy hearing 
this story, and the next one. Have the class read this story 
silently with the purpose of retelling it in mind. Remind them 
that the story will be more interesting if they use many of the 
original words and phrases in telling it. Have them read the 
selection again with this in mind and make a list of the words, 
phrases, and even whole sentences that they want to be sure to 
use. After each member of the class has made his list, compare 
all the lists and write the best one on the blackboard. Do not 
make the list too long. Have the children read the sentence 
which contains each word or phrase. 

Next have the story told in sections, each section representing 
a thought group. Let several children tell each section and 
have the class select the one who does it best, to tell it to the 
lower grade. After the four best pupils have been selected, let 
them tell the story at least once before telling it to the lower 
grade. 

The following division is a convenient one : 

1. To " why they stop our brook," line 14, page 197. 

2. To " Up and begone," line 21, page 198. 

3. To " I will break the dam," lines 22-23, page 199. 

4. To the end. 

The following list of words and phrases is suggested for use 
in retelling: 



FOLK STORIES in 

Section i — lodges ; puddle ; " The brook is falling," they said ; 
" It will rise again," said the old woman ; lower it sank ; a pipe 
was passed ; fleet runner. 

Section 2 — wigwam ; yellow eyes stuck out like warts ; croaked 
like a great frog ; swelling out his throat he bellowed ; lazily ; sprang. 

Section 3 — sorrowful ; very terrible he looked ; bonnet of eagle's 
feathers; flapped; awe. 

Section 4 — greet ; slimy ; croaked ; angrily ; bellowed ; And lo 
the village disappeared and from the chief's throat gushed a mighty 
river that burst the dam and went roaring down the brook's 
bed. 

Biographical note. — Gilbert L. Wilson (1868- ) is an American 
writer who has made a study of Indian life. He lives in Minneapolis. 

GREEDY FAWN AND THE PORRIDGE (p. 202) 

Have the class look at the pictures and guess at what is hap- 
pening. Then let them read the story silently. Suggest that 
the children in one of the lower grades would enjoy this story, 
and that one child may tell each section. Have them read the 
story again, to see where each thought group ends. 

The following division may be used : 

1. To " Then he went back to the wigwam," lines 6-7, page 203. 

2. To " stirring, and stirring, and stirring," line 8, page 204. 

3. To the end. 

The class should read the story again to select original words, 
phrases, etc., that are to be used in telling the story. Let 
them compare the various lists and write on the blackboard 
the most effective selection. 

The following list is suggested : 

Section 1 — strong and fleet of foot ; came rightly ; disappear 
down the western trail. 

Section 2 — faster and faster, Greedy Fawn stirred the boiling 
porridge ; larger and larger it grew and grew and grew ; harder and 



ii2 FOURTH YEAR 

harder he stirred; beads of perspiration ran down his little bronze 
face, yet still he stirred ; instantly the kettle began to swell ; around 
and around and around the kettle he ran, stirring and stirring and 
stirring. 

Section 3 — stirring and stirring and stirring ; oh, how his little 
arms ached ; and how tired his small legs were ; higher and higher ; 
closer and closer ; buried in porridge ; come running like deer up the 
trail. 

Have the children read the sentences or paragraphs contain- 
ing the selected words and phrases. 

Let the class re-read the first section, and have several chil- 
dren tell that part of the story. Then allow the class to select 
a pupil to tell it to the lower grade. Use the same plan for the 
second section and the third. Have the three children who 
have been chosen tell the story, each telling his part. 

Make use of the questions and suggestions at the end of the 
selection. 

Biographical note. — Mabel Powers of East Aurora, New York, 
was adopted into an Indian tribe under the name of Yeh sen noh 
wehs — the story-teller. In order to become familiar with the 
stories of the various Iroquois tribes, she traveled among them and 
heard the stories from the people themselves. Her stories are 
especially good to read aloud or to retell orally. 

THE STAG AT THE POOL (p. 206) 

Let the class read this fable and then retell it. Have them 
look up in their dictionaries the definition of a fable. Call 
their attention to the " moral " at the end and have them ex- 
press it in their own way. Appoint some pupil to consult the 
encyclopedia to find out what is known about ^Esop and then 
report to the class. 

Biographical note. — iEsop (620?~56o?b.c.) was a Greek writer 
about whom very little indeed is certainly known. He is said to 
have been a slave who was set free by his master and went to live at 



THE BUSY WORLD 113 

the court of Croesus, the richest of kings, who also entertained the 
wise Athenian, Solon. According to one story he was hideously 
ugly, but that seems hardly likely, for the Athenians had a great 
sculptor carve a statue of him, to be set up in a public place. Like 
many other famous stories, his fables were not written down for 
many years. The philosopher Socrates is said to have amused him- 
self in prison by turning some of them into verse. There are several 
Greek versions of them, and the best Latin version was made by 
Phaedrus, a freedman of the first Roman emperor. Many of the fables 
we now know as iEsop's have been collected from Eastern sources. 
Children should know " The Mice and the Weasels," Sixth Year, 
page 272, " King Log and King Stork," " The Frog and the Ox," 
" The Wolf and the Lamb," " The Lion and the Mouse," " The 
Fox and the Grapes," and others of these stories which have become 
a permanent part of literature. 

See paragraph 9, page 68, Manual. 

SECTION VIII — THE BUSY WORLD 

Introduce a discussion of industry by such questions as the 
following : What do the people in your city or town or neigh- 
borhood do for a living? What becomes of the things which 
they make or mine or raise ? Are we interested in what people 
in other parts of the world are producing? Why? Do you 
know of any way in which people in some far-away country 
help us to live ? 

Have the class select a child to read the introductory para- 
graph. Let them guess at the sort of story they may expect to 
find in this section and glance rapidly at the titles and pictures. 

OUR HELPERS (p. 209) 

Let the class read the selection silently, to determine dra- 
matic possibilities, characters needed, and scenes. In this read- 
ing they should get also the main idea of the selection, which 
s.h.r. man. 4-5-6 — 8 



ii 4 FOURTH YEAR 

their play is to convey to the audience and which will deter- 
mine what passages are to be emphasized in their acting. 

Outline of Dramatization 
Characters. Mr. Rice and John. 
Time. Morning. 
Place. Breakfast table. 

John. Father, I wish ... to help us. 
Father. O yes, we do . . . get our breakfast. 
John. Why, father . . . helped her. 

Let the children write the entire conversation in dialogue 
form, following the models given. 

For details of method see pages 33-39, Manual. 

THE MILLER OF THE DEE (p. 211) 

Have the poem read orally by a good reader. Let the class 
study the word helps, note 2, page 212, and find out whether 
there are any other words that any child would like to have 
pronounced or explained. 

Help the children get the thought sequence and content by 
asking questions like the following : Where did this miller live ? 
What did he do? Repeat his song. What did King Hal say 
to him? What question did he ask? What reasons did the 
miller give for being so happy ? What did the king say to this ? 
Answer questions 3 and 4, page 212. This poem has been 
set to music. Do any of you know the song? What do you 
know about the author of this poem ? 

Have a good reader read the poem orally at the close of the 
lesson. 

Biographical note. — Charles Mackay (1814-1889) was a Scottish 
journalist and magazine writer, and during the Civil War was special 
correspondent for the London Times. Other familiar poems of 
Mackay's are " Tubal Cain," Fifth Year, page 81, " Cleon and I," 
Sixth Year, page 353, and " John Littlejohn," Seventh Year, page 230. 



THE BUSY WORLD 115 

HOW CRUSOE MADE POTTERY (p. 213) 

Introduce by questions like the following : What is the title 
of this selection? What is pottery? Of what is it made? 
Read the explanatory note. Where was Crusoe? Why was 
he there? Why was it necessary for Crusos to make his own 
pottery? Would it be an easy thing to do? Read the selec- 
tion silently and find out what difficulties he had. 

After the reading, ask further questions : What suggested to 
Crusoe the idea of baking the vessels ? How did he manage to 
bake them? How do potters bake their pottery? What dif- 
ficulties did Crusoe have? What does he say of the shapes of 
his vessels ? How did Crusoe show his joy over his discovery ? 

Make use of the suggestions on page 216. 

Biographical note. — Daniel Defoe (1659-1731) was the first great 
English journalist. He wrote many books, as well as a large number 
of short articles and essays. In the course of his busy life he tried 
his fortune in several different kinds of business and had opportunities 
of meeting many different sorts of people. In his books, particularly 
in Robinson Crusoe, which he wrote when he was sixty years old, and 
in which his style is seen at its best, he makes use of this wide expe- 
rience to get a wonderful effect of realism. The subject itself is a 
fascinating one, and by Defoe's skillful handling of it the reader is 
made to share Crusoe's anxieties and perplexities as he works out 
one problem after another ; the story, though a story of adventure, 
does not depend for its interest on swift action or fantastic incident — 
it is, as Chesterton says, the story of a man who lived for years on a 
desert island with two guns and a sword which he never used on an 
enemy. The romance is the romance of situation rather than of 
incident, but it has kept its charm for two and a half centuries. 
Defoe's grave in London is marked by a monument, the money for 
which was raised by subscription among the English boys and girls 
who had read and enjoyed Robinson Crusoe. Other selections 
from Robinson Crusoe in Story Hour Readings are "The Shipwreck," 
Fourth Year, page 332, " Out of the Wreck," Fifth Year, p. 112, and 



n6 FOURTH YEAR 

" I find a Footprint," Sixth Year, page 72. The last gives the most 
exciting happening of the story, one of the famous incidents of English 
literature. 

THE VILLAGE BLACKSMITH (p. 217) 

See page 49, Manual, for complete plan for memorization. 
For specific directions on additional study, use the questions at 
the end of the selection. 

For biographical note see page 98, Manual. 

YOUR NEWSPAPER TALKS (p. 220) 

Introduce this lesson with questions and suggestions like the 
following : What is the title of this story ? Look at the picture 
at the top of the page. Now look at the one at the top of page 
223. What have these pictures to do with a newspaper? 

Explain that this newspaper is talking about itself. Have 
the class read the selection silently and rapidly, and then 
ask them what the newspaper tells them about (a) its name, 
(b) its contents, (c) its manufacture, (d) its arrival in the city, 
(e) sights on its journey to the pressroom, (/) happenings in 
the pressroom, (g) going through the press, {It) the folding and 
cutting, (i) delivery to customers, (j) life and influence. 

Make use of the suggestions and questions on page 224. 

THE FLAX (p. 225) 

Introduce the lesson by questions like the following: Who 
is the author of this story? What other story by Andersen 
have you read ? What do you know about him ? Not all 
paper is made out of wood pulp ; do you know of other mate- 
rials which are used for paper? Let us read the story and see 
what we can find out. 

Have the class read the story silently, as rapidly as is 
consistent with good thought getting. Test the children's 



THE BUSY WORLD 117 

understanding of the story by questions like the following: 
Describe the steps by which the flax became a linen garment. 
What was happening to the linen when it said, " Every morning 
the maid turns me over, and I have a shower bath from the 
watering pot every evening"? How did the linen become 
paper? For what was the paper used? How did the paper 
feel about its fate? Is there any part of this story that you 
specially like? If there is, read it to the class. 
For biographical note see page 96, Manual. 

POOR RICHARD'S SAYINGS (p. 230) 

Have the class notice the title of this selection, and find out 
who Poor Richard was. Then have them read the selection 
silently. Get them to notice how it differs from a story. Have 
some child tell a little story to illustrate any of these sayings ; 
have the class read one and tell what it means. 

Suggest that the class see what they can learn about Frank- 
lin from other people and from books, and ask them to look for 
a story about him which they can bring to class and read aloud. 

Biographical note. — Benjamin Franklin (1 706-1 790) was born 
in Boston. He was one of the younger children of a large family, and 
when he was thirteen years old he began to learn his trade as a printer 
in his half-brother's printing office. Before very long he was writing 
ballads, which his brother used to print and let him sell on the streets. 
His father thought that his ballads were very poor affairs and told 
the boy to stop wasting his time on them. Franklin accordingly 
gave up writing verse and began to study the best English prose that 
he could find — among other writers, Addison. As a result of this 
study, Franklin developed a style of his own that made him the 
leading American writer of his day. His Autobiography is one of 
the notable books of its kind, his political writings were witty and 
vigorous, and the pithy sayings of his Poor Richard's Almanac have 
often passed into proverbs. When he was seventeen Franklin left 
Boston for Philadelphia, and a year later he went to London. After 



n8 FOURTH YEAR 

an interesting year and a half in London he came back to Philadelphia 
and soon had a prosperous publishing business of his own. He 
issued his Poor Richard's Almanac every year for twenty-five years. 
As a preface for the almanac for 1758, Franklin collected the best of 
the proverbs that had appeared in previous years. Many of these, 
he frankly admitted, were not new — but his restatements of them 
were often admirably concise and forcible. The collection, since 
called The Way To Wealth, became very popular and has been trans- 
lated into many foreign languages. As a citizen of Philadelphia 
Franklin was active and useful; the first subscription library, 
the first fire department, and improvements in the streets, the postal 
service, the hospitals, and the schools, were among the civic interests 
that occupied him. He took also an important part in political life 
and during the Revolution was a chief influence in bringing France 
into the struggle. Besides his literary, political, and civic activities 
Franklin was interested in science. His famous experiment with the 
kite proved that lightning is caused by electrical discharges in the air, 
and led him to invent the lightning rod. Franklin's reputation was 
almost as great abroad as at home, particularly in France, where he 
was much admired as a typical representative of American democracy. 
Other selections by Franklin in Story Hour Readings are " An Ax to 
Grind," Fourth Year, page 302, and letters to Washington and to 
Noah Webster, Eighth Year, pages 118 and 120. 

See paragraph 9, page 68, Manual. 

SECTION IX — PIONEER DAYS 

Awaken interest by questions and suggestions like the follow- 
ing : Who are pioneers ? If you do not know, turn through the 
section rapidly and glance at the pictures and the titles of the 
stories. Can you tell now? 

Have the class select some pupil to read the introductory 
stanza. Continue the discussion with questions like the fol- 
lowing : Why does Whitman call the pioneers " tan-faced chil- 
dren"? Why did they need their pistols and sharp-edged 



PIONEER DAYS 119 

axes? What stories do you know of pioneer life? What do 
you know about their hardships ? This section will tell us some- 
thing about their life and hardships. Do you think we owe 
anything to these pioneers? What? 

MOTHER PURNELL (p. 233) 

Have the class study the picture on page 232 and let them 
compare this pioneer kitchen and living room with our modern 
ones. Let this lead to an informal discussion of life in pioneer 
days. Bring out the thought that in those days people were 
dependent for their meat upon hunting and that occasionally 
they had to do without meat for a long time. 

Let the children read the story orally at sight, and then an- 
swer the questions on page 237. 

THE OLD COTTAGE CLOCK (p. 238) 

Have the whole poem read by some good reader. Then 
study it in detail with questions and suggestions somewhat as 
follows : Read the stanza that describes the clock. Describe 
it in your own words. What warning did it give at ten 
o'clock? What did it say in the morning? Read the third 
stanza. Imagine that you are the clock. Picture the scene that 
you saw 

" When the dawn looked gray o'er the misty way." 

Close the lesson with an oral reading of the whole poem. 

Biographical note. — Charles Swain (1801-1874) was an English 
song writer, born in Manchester, and called " The Manchester Poet." 

HOW THE PILGRIMS LIVED (p. 239) 

Begin by a study of the picture. Ask questions like the fol- 
lowing : What does the picture represent ? What are the dif- 
ferent members of the family doing? Why are all the family 



i2o FOURTH YEAR 

sitting so close together? What do you notice about the dress 
of these people ? Who were the Pilgrims ? What do you know 
about the way they lived? 

Have the class read the story silently and test them on the 
content by such questions as the following : 

In what ways did this room differ from a sitting room to-day ? 
Contrast the furnishings and utensils with those of to-day. 
Contrast the making of cloth. Describe a winter evening in 
this home. Re-read lines 7-13, on page 241. Select the words 
from the paragraph that make the picture very clear. What 
sounds do you hear as the family sit before the fire ? Compare 
the bedrooms of that day with our modern bedrooms. De- 
scribe the dress of (a] the men, (b) the women, (c) the children. 

Make use of the suggestions at the end of the selection. 

IN OLD NEW YORK (p. 243) 

Study the pictures, using questions and suggestions like the 
following: How does this room differ from the Pilgrims' 
kitchen ? From what country did the Pilgrims come ? The set- 
tlers of old New York? Look at the picture at the end of the 
selection. What is strange about the houses ? What is strange 
about the dress of the people? What other strange things do 
you see? Does New York look like this to-day? 

Suggest that the children bring to class any pictures that 
they can find which show how New York looked about 1664, 
or how it looks to-day. Excellent pictures may be obtained 
from discarded geographies and histories. Place on the black- 
board a rough sketch of the City of New York, showing Man- 
hattan Island, East River, Hudson River, and New York 
Bay. 

Let the class read the selection silently. When they have 
finished ask them what they have found out about the follow- 
ing: (a) size of the town, (b) location of the fort (mark it on 



PIONEER DAYS 121 

the map), (c) location of the town, (d) houses, (e) doors, (/•) 
porches, (g) living rooms, (h) furnishings, (i) dress of the women, 
(J) dress of the men, (k) occupations. 

Make use of the questions and suggestions on page 246. 

The following words may need to be pronounced : Hans 
(hans), Gretel (gra/tel). 

Biographical note. — Fanny E. Coe is an American writer of 
educational books. She lives near Boston. " A Word about 
Cotton, " Sixth Year, page 120, is another selection by this author. 

IN OLD LOUISIANA (p. 247) 

Have the class look at the picture and read the title, noting 
where Louisiana is. Read the explanatory note to the children. 
Then have them read the selection rapidly and silently, and 
answer the following questions, as well as those on page 250: 
Describe Nick's journey through the woods. What did he see 
and hear as he neared the settlements ? Describe the new home. 
Contrast the methods of travel in pioneer days with those of 
to-day. 

Biographical note. — James W. Nicholson (1844- ) is an 
American educator, born in Alabama. He was a soldier in the 
Civil War and since then has been a teacher, taking especial interest 
in mathematics and agriculture. He lives at Baton Rouge. 

OLD-FASHIONED TELEGRAPHS (p. 251) 

Have the children look at the picture to get its story. Ask 
questions like the following: How do we telegraph to-day? 
The telegraph was invented less than a century ago ; was there 
any way of sending messages rapidly before that time ? 

Let the class read the selection silently, and answer the fol- 
lowing questions : What was the musket telegraph, and when 
and how was it used? How was telegraphing by fire done, and 



122 FOURTH YEAR 

by whom ? Describe the telegraph that the two French school- 
boys used. Who invented the electric telegraph? What are 
the advantages of the electric telegraph ? How are messages 
sent to countries across the ocean? How are messages sent 
between ships many miles apart at sea? 

Biographical note. — Edward Eggleston (1837-1902) was an 
American novelist and historian, born in Indiana. Delicate health 
prevented his going to college, but he was naturally a diligent student. 
Most of his stories portray pioneer manners and dialect of the Middle 
West. The Hoosier Schoolmaster was one of the first examples of 
American local realistic fiction. During the later years of his life he 
labored on a History of Life in the United States, but he lived to finish 
only two volumes. 

Other selections from his writings are " Putnam and the Wolf," 
Fifth Year, page 41, and "A School of Long Ago," Seventh Year, 
page 73- 

BLACK HAWK'S FAREWELL (p. 256) 

This is essentially a selection for oral reading. After the ex- 
planatory note has been read aloud by a member of the class, 
have the entire selection read orally several times, with proper 
attention paid to pronunciation, enunciation, and sensible de- 
livery. Call the attention of the pupils to the simple but 
striking language of the Indian chief. Have the pupils try to 
find another selection, preferably not in their Reader, that 
lends itself to oral reading. 

See paragraph 9, page 68, Manual. 

SECTION X — A LITTLE NONSENSE 

Awaken interest by questions like the following : What is 
this section about? Glance rapidly through it, looking at the 
titles and pictures. Do you think you will enjoy it? What 
does the introductory paragraph say about a little nonsense ? 



A LITTLE NONSENSE 123 

THE CIRCUS CLOWN (p. 259) 

Have the children study the pictures on pages 258 and 259. 
Help them explain the relation between the two pictures by- 
questions: What is the clown doing? The clown's dog? 
What is the boy doing? The boy's dog? What lines in the 
verses tell why the boy is trying to do what the clown is doing ? 

THE OWL AND THE PUSSYCAT (p. 260) 

Give the pupils opportunity to read aloud the stanzas or the 
lines that they especially like. Have each reader try to tell 
the class what he likes in the particular part he has selected. 
Have them pick out the unusual words. Encourage the pu- 
pils to try their hands at sketching one of the scenes described. 

Biographical note. — Edward Lear (1812-1888) was an English 
humorist and artist. His first published drawings were of brilliantly 
colored birds, and were so well done that the owner of a fine ornitho- 
logical collection had him come to his house to make drawings of it. 
He afterwards became a friend of the family, especially of the little 
boy for whom he wrote his Book of Nonsense. Eventually he became 
interested in landscape painting and traveled widely in search of 
interesting scenes. As good a critic as Ruskin greatly enjoyed his 
Book of Nonsense. Other poems of Lear's that the class will like 
are " The Mad Riders," Fifth Year, page 237, and " The Pobble Who 
Has no Toes." 

A TRAGIC STORY (p. 262) 

The questions on page 263 are sufficient to bring out the pur- 
pose of the poem. Let the children enjoy the selection by 
reading it aloud. 

Biographical note. — William Makepeace Thackeray (1811-1863) 
at first intended to be a painter, and studied art in Paris. His sketches 
were clever but not correctly drawn, and when he lost his money and 
found that he would have to earn his own living he gave up painting 
and began to write stories and verse for magazines. Later he wrote 



124 FOURTH YEAR 

his stories, Vanity Fair, Esmond, The Newcomes, and Pendemiis, 
which rank among the great English novels. " Pocahontas," Sixth 
Year, page 56, is another poem of Thackeray's. 

A LIMERICK (p. 263) 

One of the earliest limericks known, if not the oldest, is the 
Mother Goose rime, " There was a fat man of Bombay," etc. 
As an English exercise the pupils will enjoy imitating the verse 
form of this old jingle in a limerick of their own composition. 

For biographical note see page 123, Manual. 

ADVENTURES IN LILLIPUT (p. 264) 

This selection is to be used for sight reading. Read the 
explanatory note to the class, and drill upon the pronunciation 
of the title (lil'i-put). Make use of the suggestive questions 
on page 266, and call attention to the picture. 

Biographical note. — Jonathan Swift (1667-1745) had a varied and 
unhappy life and was one of the striking figures in the literary and 
political world of his time. He used his great powers of satire in the 
service of his political party and was rewarded by being made dean of 
St. Patrick's Cathedral, in Dublin. Shortly afterwards his party 
went out of power, and Swift had no further hope of promotion. He 
began, however, to take a warm interest in Irish affairs and some of 
his most effective writing was done in the interests of Irish commerce. 
Gulliver's Travels, his most famous book, was written during this 
period of his life and is a keen satire on the manners of the time. 
But the child reads the book for the wonder story itself. The voyage 
to Lilliput, from which this extract is taken, and the second voyage 
to Brobdingnag, the country of giants, are the parts of Gulliver's 
Travels most suited to children. Throughout Gulliver's Travels a 
mass of detail is used, as in Robinson Crusoe, to secure an effect of 
reality. Gulliver measures everything so accurately, comparing it 
so carefully with things familiar to the reader, that he enables us to 
visualize the objects he describes. For instance, in this selection, 



A LITTLE NONSENSE 125 

the geese are not so big as sparrows ; the larks are slightly smaller 
than houseflies. Children should have read to them other parts 
of " A Voyage to Lilliput." 

THE GARDENER'S SONG (p. 267) 

Let the pupils read the selection aloud. Then ask every- 
body in class to pick out the incongruous things that make the 
humor of the selection; as, an elephant playing a fife, etc. 
If possible, have a committee appointed to investigate Alice 
in Wonderland and report to the class on the book. 

Biographical note. — Lewis Carroll (Rev. Charles L. Dodgson, 
1 83 2-1 898) was a lecturer in mathematics at Oxford University. 
Under his own name he published a number of books on this subject, 
but as " Lewis Carroll " he was the author of Alice in Wonderland 
and Through the Looking Glass. " Alice " is one of the familiar 
figures of literature — a quaint little person with combed-back hair 
bound with a ribbon, absurd dress and apron, and an expression of 
grave curiosity, as we see her in Tenniel's drawings. Lewis Carroll 
was very fond of children and the original of Alice was the daughter of 
a fellow professor at Oxford, so it is hardly strange that in spite of the 
remarkable adventures which Alice encounters, she herself remains 
delightfully natural. The nonsense rimes that occur here and there 
through both books are masterpieces of their kind. " The Walrus 
and the Carpenter," Fifth Year, page 232, " A Lobster Quadrille," 
" Jabberwocky," and the amusing parody, " Father William," are 
among the best. A fitting memorial of Lewis Carroll is the cot in a 
children's hospital in London, which has been endowed in his memory. 

THE PLAINT OF THE CAMEL (p. 268) 

Ask a few leading questions to bring out the chief topics of 
humor, as : How many grounds of complaint has the camel? 
Which of these do you think he considers the most serious? 
Why? Why does the author choose a camel rather than a 
horse or a cow as the subject of his humor? 



126 FOURTH YEAR 

Call attention to the queer riming as in lines 11-12, page 269. 

Biographical note. — Charles E. Carryl (1841- ) is the author 
of Davy and the Goblin, and of humorous verses like those given here. 

THE FASTIDIOUS SERPENT (p. 270) 

Like many others of the best humorous poems in the lan- 
guage, " The Fastidious Serpent " is sheer exaggeration. Have 
the children read it aloud with this characteristic in mind. 

Suggest that the pupils make a collection of humorous verses 
or anecdotes gathered from newspapers and magazines, picking 
out only the selections that appeal to them as being genuinely 
funny. One class recitation can then be given over to read- 
ings from these scrapbooks. 

Biographical note. — Henry Johnstone is the pen name of a Scottish 
writer, Lord Johnston, a Judge of the Court of Sessions. He was born 
in Edinburgh, in 1844. 

See paragraph 9, page 68, Manual. 

SECTION XI — OUR FRIENDS THE BIRDS 

Introduce the section by questions and suggestions : What 
is the title of this section? In what ways are the birds our 
friends? Read the introductory paragraph. Glance rapidly 
at the titles and pictures in the section. What birds are men- 
tioned? What other birds do you know? 

The following story will help to awaken interest: A family 
of children once had the opportunity of becoming well ac- 
quainted with a little lame wren. This bird nested in a quince 
bush just outside their dining-room door. When clearing the 
table they used to throw the crumbs out on the steps for the 
little wren. She returned to this quince bush to nest every 
year for three years, and she became so well acquainted with 
them that when they sat down at the table she would sit on the 



OUR FRIENDS THE BIRDS 127 

steps and chirp, and if the screen door was not closed she would 
fly in and light on the table. 

Ask the children to tell about any similar experiences of their 
own. 

THE ORIGIN OF BIRDS (p. 273) 

Have the children look carefully at the picture at the top of 
the page and note what is unusual about it. Explain that 
this is an Indian story which tells how the birds came to be on 
earth. Then let them read it silently. Questions like these 
will help to clarify their understanding of the story : How did 
the Indians account for the birds ? What leaves were changed 
into (a) robins, (b) goldfinches and yellow birds, (c) cardinals 
and tanagers, (d) sparrows and wrens? How many of these 
birds do you know by sight ? What other birds do you know ? 
(Use, also, the questions on page 274.) 

Perhaps the class will like to make a bird poster or individual 
bird booklets, showing pictures of birds and containing inter- 
esting facts about them. 

THE SECRET (p. 274) 

Have the poem read orally by a good reader. Then ask a 
few pertinent questions : Who is talking in this poem ? What 
is the secret ? Have you ever known a child to tell things that 
he thought he was keeping secret? 

Have the class read the poem again, and then see how quickly 
they can memorize it. 

Biographical note. — Jean Ingelow (1 830-1 897) was born in the old 
town of Boston, in England. She began to write verses while she was 
still a schoolgirl and was for many years a very popular author. She 
wrote also stories for children, among them one good fairy tale, 
Mopsa the Fairy. " The Minnows with Silver Tails," Fifth Year, 
page 361, is by Jean Ingelow. The class may like to read or have 
read to them her poem, " Seven Times One." 



i 2 8 FOURTH YEAR 

THE FIRST ROBIN (p. 275) 

Introduce this lesson by reminding the class of the lesson on 
page 273, which told how the Indians accounted for the origin 
of birds. They will remember that the oak leaves were changed 
into robins. Explain that this lesson is another Indian story 
which accounts for the first robin in a different way. 

Have the class read the selection silently to find how this 
legend accounts for the first robin, and let them tell the story 
in their own words. Get them to compare these two legends 
about the robin and decide which they like better and why. 
Make use of the suggestions and questions on page 277. 

Biographical note. — Henry Schoolcraft (1 793-1 864) was an 
American geologist and student of Indian folklore. In 181 8 he was 
sent into Missouri and Arkansas to collect geological specimens; 
and in 1832 he was made Indian agent for the Lake Superior country, 
where he remained for a number of years, studying the customs and 
traditions of the Indians. Longfellow found the originals of many 
of the legends that make up his Hiawatha among Schoolcraft's 
folklore collections. " A Brave Indian Girl," Fourth Year, page 322, 
is another selection by this author. 

ROBERT OF LINCOLN (p. 278) 

If possible, show the class pictures of the male and the fe- 
male bobolink. Talk about the difference in their plumage, 
and the advantage to the mother of this dull-colored dress. 
Ask questions like the following: Where do the bobolinks 
build their nests? What does the father bird do while the 
mother is sitting on the eggs ? Why does not the mother bird 
sing as she sits on the nest? After the brood is hatched, what 
does Robert of Lincoln have to do ? Does he sing as much now ? 
Why not? Where does he go in the fall? How many of you 
have heard the bobolink sing? What does he say? 

Either read the poem as a whole to the class or have it read 



OUR FRIENDS THE BIRDS 129 

by a good reader. Then have the poem read stanza by stanza. 
Get the class to remember as they read that Robert of Lincoln 
is a happy boastful fellow, and that they must try to express 
this in their reading. The children should ask about the mean- 
ing of any words or lines that they do not understand. At the 
close of the lesson have the poem read as a whole by one or two 
good readers, with the rest of the class as an audience. 
For biographical note see page 104, Manual. 

THE EAGLE (p. 281) 

Have a picture of the eagle, and introduce the lesson by an 
informal talk, touching upon his home in high lonely places, 
his great strength, his ability to soar very high, his swiftness, 
and his manner of swooping down suddenly on his prey. 

Have the class read the poem silently, and help them to ap- 
preciate it by questions like the following : What picture do 
you get of the eagle in the first three lines? Where is the eagle 
and what is he doing when " the wrinkled sea beneath him 
crawls "? Why does the sea look wrinkled to him? Are the 
words " wrinkled " and " crawls " good words to use in this 
line? Why? For what is he watching from his mountain 
walls? What happens when he sees his prey? 

Close the lesson by reading the poem orally. 

Biographical note. — Alfred Tennyson (1809-1892) is one of the 
most popular of English poets. Like Longfellow, to whom he is often 
compared, he began to write while still a boy, and his last poem, 
" Crossing the Bar," Eighth Year, page 432, was written when he 
was eighty years old. Idylls of the King, a collection of stories about 
King Arthur and his knights, In Memoriam, written after the death 
of his college friend, Arthur Hallam, and The Princess are Tennyson's 
best-known long poems and contain many exquisite short lyrics. 
" Ring Out, Wild Bells," Fifth Year, page 318, is from In Memoriam, 
and " The Bugle Song," Fifth Year, page 360, is from The Princess. 
s.h.r. man. 4-5-6 — 9 



13° 



FOURTH YEAR 



A. number of Tennyson's lyrics have been set to music and most 
children are familiar with " Sweet and Low," from The Princess. 
Tennyson's poetry is particularly adapted to a musical setting, for 
both meter and language are singularly musical ; children should 
be trained to notice and enjoy this quality as well as the beauty and 
vividness of the imagery. Other poems that children should read, 
besides those mentioned, are ' The Revenge," Fifth Year, page 98, 
" The Brook," Fifth Year, page 262, " The Charge of the Light 
Brigade," Sixth Year, page 93, " Sir Galahad," Eighth Year, page 
395, and " Flower in the Crannied Wall," Eighth Year, page 398. 

BOBWHITE (p. 282) 

Call attention to the picture of the quail in the headpiece. 
Talk about his appearance, call, life, habits, and family. The 
class should notice the zigzag rail fence. Find out whether any 
of them have ever seen such a fence or heard the quail's call. 

Have the poem read orally, and then let the pupils write 
answers to these questions : What time of year is it ? Prove 
your answer. Did Bobwhite stay in sight of the writer? What 
does the writer suggest in the third stanza that Bobwhite may 
be doing? What question does he ask? What does the last 
line suggest to you? Close the lesson by discussing the ques- 
tions and answers. 

Biographical note. — George Cooper was an American writer, born 
in New York in 1840. Other poems of his that the class may like are 
41 Baby-Land " and " October's Party." 

IN THE HONEYSUCKLE (p. 283) 

Give the children three quarters of a minute in which to read 
this story, then ask them to close their books and write as much 
of the story as they can. The object of this lesson is to see how 
many ideas each child can reproduce from a single reading. 
As the hearing of a single word may recall an idea, do not spell 
any of the words orally for children who ask for them, but 



OUR FRIENDS THE BIRDS 131 

write words that are likely to be asked for on small slips of 
paper and have them ready. Tell the class that if anyone 
wishes to know how to spell a word he is to raise his hand and 
ask for the word so quietly that no one will hear him. Have 
ready several copies of each of the following words : breakfast, 
suddenly, honeysuckle, screaming, flapping, notice. Other 
words may be called for. The following key may help in es- 
timating the ability of the pupils. Each child should have at 
least 50 per cent of the ideas. 

We were at breakfast. Suddenly we heard the sharp cries of our 
catbirds that were nesting in the honeysuckle. I ran outside and there 
was our old cat looking into the nest. The birds were screaming and 
flapping their wings in his face. Before he could do any hurt, the 
robber was in my hands. I spanked him soundly, and put some bells 
on his neck to give the pair notice of his coming. But he had had 
enough. After that our catbirds nested in peace. 

Allow for the correct idea if different words are used ; for ex- 
ample, " birds " for " pair," " harm " for " hurt," " tied " for 
" put," etc. 

THE FLIGHT OF THE THRUSHES (p. 284) 

Have the class study the pictures, and stimulate attention by 
such questions as these : What kinds of birds are in each ? In 
what country does the first scene take place ? How do you know ? 

Place on the blackboard the words " Egypt," " Egyptian," 
" pyramids," " Nile," and " Mediterranean," and familiarize 
the children with them in this introductory talk. Use this se- 
lection for oral sight reading. Use the questions on page 290 
to check on the accuracy of the children's reading and to stimulate 
discussion with particular attention to bird migrations. 

Biographical note. — Henry C. McCook (1837-1911) was an 
American clergyman and educator. He is best known for his books 
and articles about insects. 



132 FOURTH YEAR 

PARABLE OF THE WREN (p. 291) 

This selection is to be used as a test for speed and content. 
See directions for giving tests, pages 13-17, Manual. 
The following are suitable test questions : 

1 . "When did the priest go forth ? 

2. What did he suddenly hear? 

3 . Toward what place did the priest move ? 

4. What did he see ? 

5. How does the wren compare in size with other birds? 

THE SANDPIPER (p. 292) 

Let the class read the note at the beginning of the poem. 
Then have the poem read orally. Let the class answer the 
questions in note 1, page 293. Point out to the children the 
number of vivid descriptive words in this selection. Have 
them notice how each of the following words is used : bleached, 
raves, flit, scud, misty, skims, fitful, scans, stanch, loosed, 
wroth, rushes. Call their attention to the last two lines, and 
let them try to recall the similar idea in " Bobwhite," page 
282. Close with oral reading of the poem. 

Biographical note. — Celia Thaxter (1 836-1 894) was about five 
years old when she went to five on the Isles of Shoals, ten miles off 
Portsmouth, New Hampshire, where her father was keeper of the 
White Island lighthouse. She spent most of her life on these islands, 
and her poetry expresses her love of nature and shows how close and 
affectionate her observation of the island scenery must have been. 
The poem given here is a fine example. Children will like also such 
poems as "Wild Geese," "Spring." "Little Gustava," and " Nik- 
olina." 

THE BLUEBIRD (p. 294) 

Awaken interest by showing the class a picture of the blue- 
• bird, and by informal talk about his early arrival, his happy 
song, choice of a nesting place, etc. 



LESSONS FROM LIFE 133 

Have the poem read aloud, and let the class tell where the 
bluebird was, what he was doing, and what time of year it was. 
Then carry out the suggestions at the end of the poem. 

Biographical note. — Emily Huntingdon Miller (1833-1913) was 
an American educator and writer for children. She was for many 
years dean of the College of Women, Northwestern University, and 
was a contributor to leading magazines. 

See paragraph 9, page 68, Manual. 

SECTION XII — LESSONS FROM LIFE 

Have the class glance through this section, looking at the 
titles and pictures to discover what the stories are about. Then 
let them read the introductory paragraph. They may be able 
to mention other stories of this kind. 

"TRY AGAIN" (p. 297) 

Have the pupils read this lesson silently to determine whether 
the selection is a good one to dramatize, and if it is, what char- 
acters are needed and how many and what scenes. Groups of 
children should work out the dramatization. As a preliminary 
to the dramatization have the class make sure that they under- 
stand what idea their play is to convey to the audience. Use 
the questions and suggestions on page 299 for this purpose. 
The dialogue should be written out by the children. 

Outline or Dramatization 
Characters 
John Lucy Aunt 

SCENE I 

Place. Out of doors. 

Action. John and Lucy are trying to fly a kite. Their aunt is 
watching them. 



134 FOURTH YEAR 

SCENE II 

Time. A few minutes later. 

Place. An open grass plot. 

Action. John and his aunt frying the kite. Lucy watching. 

See pages 33-39, Manual, for directions for dramatizing. 

Biographical note. — Charlotte Elizabeth was the pen name of 
Mrs. Charlotte Elizabeth Tonna (1 790-1 846), an English writer who 
was born at the old town of Norwich. She was connected with 
various magazines and wrote a number of novels, poems, and stories 
for children. 

THE CONCEITED GRASSHOPPER (p. 300) 

Let the class study the pictures and get from them a hint of 
the story. Then have the poem read orally and the questions 
on page 301 answered. 

Biographical note. — Elizabeth Turner wrote three little books 
of stories warning children of what they ought and ought not to do. 
These books, The Daisy, The Cowslip, and The Crocus, were very 
popular with the children of fifty or a hundred years ago. Some of 
the poems are reprinted in E. V. Lucas's A Book of Verses for Chil- 
dren. Many of them are quaint and interesting moral teachings. 

AN .AX TO GRIND (p. 302) 

This selection is to be dramatized. 

Call the children's attention to the author's name. Let 
them recall what they have already learned about Frank- 
lin, and have them find in this book another selection written 
by him. See pages 33-39, Manual, for directions for drama- 
tizing. The class should discuss the meaning of the phrase 
" He has an ax to grind," and mention situations to which it 
would apply. This basic idea should be kept constantly in 
mind, in writing and in acting the play. 

For biographical note see page 117, Manual. 



LESSONS FROM LIFE 135 

HARRY AND THE GUIDEPOST (p. 304) 

Have the class read the poem aloud. Make use of the follow- 
ing study suggestions as well as those on page 305 : What three 
things combined to make Harry's way home a lonely one? 
What dismal sounds did he hear ? Look at the picture and tell 
why the guidepost appeared so especially alarming. What 
does it make you think of? Read what Harry said to himself 
for encouragement. How did he act when he found out what 
he had been afraid of ? What two lessons did he get from his 
fright? Read each of them aloud. Apply one of them to the 
case of a boy who is afraid to go to the dentist. Have you ever 
had an experience like Harry's? 

CIRCUMSTANCES ALTER CASES (p. 306) 

Each of the stories in this selection will make a very short 
play. Explain to the class that to make clear to their audi- 
ence why these belong under the same title, they must bring 
out in their dramatization just what the title means and what 
it has to do with the action. A line or two added to the conver- 
sation in each case will do this naturally. Let the children 
write in these lines for themselves and act the play so as to 
make clear what it implies. See pages 33-39, Manual, for 
directions for dramatization. 

THE ARROW AND THE SONG (p. 308) 

Call the children's attention to the author of this poem. Let 
them recall other poems of Longfellow's that they have read, 
and some facts about his life. 

Have the poem read orally by a good reader. The follow- 
ing suggestions, with those at the bottom of the page, will fur- 
nish a background for memorization : Read the lines that tell 
you (a) in what two ways the flight of the arrow and that of 



136 FOURTH YEAR 

the song were alike; (b) in what other way their fates were 
similar. See pages 47-51, Manual, for suggestions on memo- 
rization. For biographical note see page 98, Manual. 

THE NOBLEST DEED (p. 309) 

This selection is to be dramatized. See general directions, 
pages 33-39, Manual. 

Use the suggestions and questions on page 311 as a basis for 
study of the background and teaching of the story ; such ques- 
tions as these will also help : Why did neither the eldest son nor 
the second son win the diamond? Why did the third son get 
it? What relation to this story have the two sentences from 
the Bible on page 311? 

The class should have the thought of this story very clearly 
defined before they go on to the dramatization. 

PERSEVERANCE (p. 312) 

Have the poem read orally. Let the children tell in a single 
sentence what its message is. Have them re-read the poem 
and let each child select from it any thoughts that seem to him 
helpful and read his selection to the class. Let the children se- 
lect another title for the poem. 

See paragraph 9, page 68, Manual. 



SECTION XIII — ADVENTURE 

Awaken interest by questions like the following : Have you 
ever had an adventure ? Tell us about it. Why are we always 
interested in stories of adventure? Read the introductory par- 
agraph. Look at the titles and pictures. Which story are you 
most anxious to read? Why? 



ADVENTURE 137 

THE PIRATES OF THE POND (p. 315) 

Call attention to the picture and the title. Lead the class to 
discover that the boys are making believe that they are pirates. 
Suggest that they read the story silently, to find out what these 
pirates did. After the reading, give questions and directions 
like the following : Would you like to be one of this pirate crew ? 
Why? What interesting things did these boys do? Describe 
as clearly as you can (a) the pond, (6) the building of 
the " ship," (c) the launching, (d) the island, (e) the adventure, 
(J) what was done with the treasure. 

Suggest that the children find other stories of pirates and 
buried treasure and tell the class about them. 

ANDY MOORE (p. 319) 

Excite interest by questions and suggestions like the follow- 
ing : Look at the picture and tell us what you think Andy Moore 
did. Look at the next picture. Why do you suppose he 
stopped this train ? Read the story and find out. 

Have the class answer the questions on page 321. The 
children will enjoy looking for other stories of train wrecks or 
of thrilling rescues and telling them to the class. 

Biographical note. — Grace Greenwood was the pen name of 
Sara Jane Lippincott (1 823-1 904). - She was editor of a periodical 
for children, and wrote a number of children's books. She was also 
a lecturer and dramatic reader. 

A BRAVE INDIAN GIRL (p. 322) 

Have the class look at the picture and guess at the charac- 
ters and incidents of the story. 

Use this selection for oral sight reading. Do not interrupt 
the reading to correct mistakes. If a child hesitates over a 
word, pronounce it for him. Keep a list of words that were 



138 FOURTH YEAR 

mispronounced and at the end of the lesson have them pro- 
nounced correctly. Then have the child who missed the word 
read the sentence in which it is found. Allow the class to ex- 
press opinions and offer courteous suggestions about, the oral 
reading. 

The class should answer the questions on page 326. 

For biographical note see page 128, Manual. 

THE END OF THE RAINBOW (p. 327) 

This lesson is to be used as a test for speed and content. 
See the directions, pages 13-17, Manual. 
The following list of questions is suggested : 

1. How far away did the end of the rainbow seem to be? 

2. What did the girl's brother tell her she would find at the end 
of the rainbow? 

3. What did her brother do as she started out? 

4. Where did the end of the rainbow always appear to be? 

5. What did she think when she heard voices hallooing and shout- 
ing? 

Onondaga (6n-#n-da/gd) may be a new word to the class. 
Pronounce it for them. 

For biographical note see page 137, Manual. 

THE SHIPWRECK (p. 332) 

Call attention to the author of this selection. Find out what 
the children remember about Defoe. Read the explanatory 
note to the class and let them wonder about the circumstances 
of the shipwreck. After reading the story, let them recount 
the things that made this an exciting adventure. Have them 
answer the questions on page 334. If some child has read 
Robinson Crusoe, have him report to the class on the story as 
a whole — how Crusoe came to be on the island, his life there, 
Friday, his final escape, etc. 

For biographical note see page 115, Manual. 



OTHER LANDS AND TIMES • 139 

THE USUAL BURGLAR (p. 335) 

This selection is to be dramatized. See pages 33-39, 
Manual, for general directions. When the play is ready and has 
been rehearsed, invite some other grade, or give an assembly 
program in which the class presents several of the following 
dramatizations : " Our Helpers," " Try Again," " An Ax to 
Grind," " Circumstances Alter Cases," " The Noblest Deed," 
" The Usual Burglar." 

See paragraph 9, page 68, Manual. 

SECTION XIV — OTHER LANDS AND TIMES 

Excite interest by questions like the following: How many 
of you like stories that begin with " Once upon a time," or 
"Far, far away"? What is this section about? Which of 
these beginnings might be used for past times? Which for 
strange lands? Read the first sentence of the first story in 
this section ; which one of these beginnings might you use in- 
stead of it? Read the first sentence in "The King of the 
Golden River " ; which of the two beginnings might you use? 

WHITTINGTON AND HIS CAT (p. 339) 

Read the explanatory note to the children, and then have 
them read the entire story without interruption. After read- 
ing the story let them turn back to the pictures. Ask questions 
like the following : What scene in Dick's life does the picture 
on page 339 represent? The one on pages 346 and 347? The 
one on pages 350 and 351 ? In the last-named picture, find the 
following : Dick ; the Lord Mayor of London, with the key of 
the city ; the Bishop of London ; Alice, with her pages ; a jester ; 
the name of a street in London. 

Let the class answer the questions on page 351. 



140 FOURTH YEAR 

THE KING OF THE GOLDEN RIVER (p. 352) 

This selection is to be read silently. Base the further study 
of it on the questions and suggestions on pages 352 and 365. 
Have the children rind out something about Ruskin's life, and 
supplement their information with further interesting facts. 

The following word may need to be pronounced: glacier 
(gla/sher). 

Biographical note. — John Ruskin (1819-1900) was born and 
brought up near London. He was an only child and had a quiet and 
happy but rather solitary childhood, varied chiefly by trips with his 
parents through England, Switzerland, and Italy. As he grew up he 
became greatly interested in art and wrote his famous book, Modern 
Painters. Later he began to give more and more attention to social 
reform, and spent most of his large inherited fortune in efforts to 
improve the condition of working people in England. The King 
of the Golden River was written while he was still an undergraduate 
at Oxford, and shows the unusual descriptive power that is a chief 
beauty of his work, as well as the humanitarian feeling that after- 
wards came to be the leading motive of his life. 

SUMMARY 

Have several children tell which section, which story, 
and which poem in this book they like best, and why they 
like it. Let each child make a list of the five or ten stories 
and of the five or ten poems which he likes best. 

Tell the class that now that they have finished reading 
the book, they should read some of their favorite stories 
and poems to the members of their families. 

A day or two later take a few minutes to find out how 
many children read and what selections they chose. 



PART III — SUGGESTED LESSON PLANS 
FIFTH YEAR 

SECTION I — DARING AND ADVENTURE 

Have the class open their books to page n and discover 
what the section is about. Let them glance through the sec- 
tion rapidly, looking at the pictures and the titles, and express 
opinions about what they see. Then let them select a good 
reader to read the introductory paragraph on page n. Ques- 
tions like the following will stimulate interest: Do you agree 
with the first sentence? Why, or why not? Why is it some- 
times better to read the story of an adventure than it is to have 
the actual adventure ? What adventures have you had ? Tell 
us about one adventure. 

A GREENWOOD HUNTER (p. 13) . 

This selection is to be dramatized. Have the class read it 
silently, to see whether or not it is a good one for the purpose. 
If they decide to use it, they should determine how many and 
what characters are needed, how many scenes there are, and 
what action takes place, reading the story again, if necessary. 
to find out. The list of characters should be written -on the 
blackboard and the class should select children to take the parts. 
Have those who are to take the parts read the dialogue exactly 
as it stands in the story. For further details of method see 
pages 33-39, Manual. 

141 



i 4 2 FIFTH YEAR 

Outline of Dramatization 

Characters. Robin Hood, Little John, The Youth. 

Time. A summer morning. 

Place. Sherwood Forest. 

Action. Conversation between Robin Hood and Little John. 
They see a deer and a hunter. They discuss the stranger. Robin 
goes forward to meet the stranger. They talk, and then fight with 
swords and bucklers, neither getting the advantage. The stranger 
tells his name. Little John comes forward. The stranger becomes 
a member of the band, as Will Scarlet. 

Make use of the suggestions on page 18 to help the class fa- 
miliarize themselves with the atmosphere and background of 
this story. The teacher should furnish part of the material 
needed by suggesting other stories of Robin Hood and by read- 
ing the ballad aloud to the class. Have the children determine 
points like these : When the events took place ; w T here Sher- 
wood Forest was ; why Robin Hood and his men were there ; 
how they lived in the forest ; what weapons they used ; how T 
the characters were dressed. 

Drill the class on the pronunciation of the following words 
and of any others that may give trouble : wand, coppice, yeo- 
man, parried, trysting, tyranny. 

Biographical note. — Eleanor L. Skinner is a teacher of English 
in Columbus, Ohio. Besides Tales and Plays of Robin Hood she 
has written other volumes of stories from history and legend. 

A BOLD SEA-ROVER (p. 19) 

Use this story as a correlated lesson in history, basing its 
interpretation on the following outline : 

1. The voyage of Bjorn. 

2. Eric the Red hears his story. 

3. Leif the Lucky prepares to go exploring. 

4. A bad omen. 



DARING AND ADVENTURE 143 

5. Leif's voyage. 

6. The first land discovered. 

7. Adventures in Vinland. 

8. The return of the explorers. 

Encourage the pupils to read elsewhere about the Norsemen. 
Read to them selected parts (" The Building of the Long Ser- 
pent," " The Crew of the Long Serpent ") of Longfellow's 
Saga of King Olaf, for good descriptions of a Viking ship and 
crew. 

Have the children read the selection silently and study the 
pictures on pages 12, 22, and 23. Then test their reading and 
their judgment by these questions : How was a Norse ship 
propelled? How was it steered? Where were the lookout men 
posted? How were these sea-rovers armed? Where did they 
keep their shields while they were on board ship ? What do you 
think of B jorn ? Why was Eric the Red so disgusted with him ? 
Why did Eric not go on the voyage of discovery? What was 
Leif's nickname ? 

As a written exercise, have the class answer the questions on 
page 23. 

Pronounce with the pupils: Bjorn (b-yorn), Leif (lef), 
Ericsson (er'ik-swn), Tyrker (tir'ker), Vinland (vin'land). 

Biographical note. — Agnes Vinton Luther was a teacher of science 
in a normal school in Newark, New Jersey, when she wrote Trading 
and Exploring, an account of sea adventure and discovery from 
the earliest times. 

INCIDENT OF THE FRENCH CAMP (p. 24) 

This selection is to be used for oral reading. The points to 
be brought out are its dramatic quality and the underlying 
idea of his soldiers' devotion to Napoleon, which gives it emo- 
tional tone. The children should know that Napoleon was a 
great general, who, at the time of this incident, was emperor of 



i 4 4 • FIFTH YEAR 

France, and who was greatly admired and trusted by his sol- 
diers. Explain that this poem is supposed to be an account by 
an eyewitness of a happening during the siege of a town. Then 
read the poem aloud to the class and afterwards have them 
read it silently and answer the questions on page 25. 

Pronounce the following words with the class : Ratisbon 
(rat'is-bon), Napoleon (na-po'le-tfn), Lannes (to rime with 
" plans " in this poem). Let them ask for the pronunciation or 
meaning of any other words they have found difficult. 

Have the poem read aloud, reminding the readers that they 
are narrating an incident which they are supposed to have 
witnessed. 

Relate this poem to other reading by questions like these : 
Who is the author of this poem ? What other poems of Brown- 
ing's have you read? Can you repeat "The Year's at the 
Spring"? What do you remember about Browning's life? 

For biographical sketch see page 74, Manual. 

A FOREST ON FIRE (p. 26) 

This selection is to be used as a speed test. For directions 
for giving tests see pages 13-17, Manual. 

As children read more rapidly when interest has been aroused, 
begin by talking with the class about forest fires ; where they 
occur, how they are started, what harm they do, how they can 
be prevented. Read to the class the biographical note on page 
30, adding further interesting material if possible. 

For the speed test, have the children open their books, give the 
signal to begin, and let them read for two minutes. Then 
call time and let them mark the last word read. In a two-min- 
ute test like this, the rate to be recorded is, of course, half the 
actual number of words read. Let the class finish reading the 
selection as rapidly as possible, and then write the answers to 
the following questions : 



DARING AND ADVENTURE 145 

1. What wakened the author and his family? 

2. On going to the back of the house, what did Audubon hear and 
see? 

3. Upon what did the family escape ? 

4. What did Audubon do to get the live stock and dogs to follow 
him ? 

5. How far did they have to go to reach the lake? 

6. How were they hindered ? 

7. What did they do when they reached the water's edge? 

8. How did they secure food ? 

9. What difficulties did they meet when they left the lake? 
10. What place did they finally reach ? 

After completing the test spend a period in talking over this 
selection with the class. Have the questions on page 30 dis- 
cussed and answered. Let the class make posters or booklets 
illustrating forest conservation and the destruction caused by 
forest fires. Correlate this lesson with geography by a dis- 
cussion of lumbering and forestry areas. 

Biographical note. — John James Audubon (1780-1851) was born 
in Louisiana and was sent to France to be educated. Previous to 
going abroad he had greatly enjoyed observing birds and making 
drawings of them. While in France he kept up his interest, and when 
he came back to America in 1798 he went to live on a farm near 
Philadelphia where he spent ten years, sketching and observing 
birds, adding to his collection, and living an outdoor life. In 1808 he 
married the daughter of one of his neighbors and went West with the 
idea of making a living in business. He spent some time in Kentucky 
and Louisiana, but settled nowhere permanently. " Meanwhile he 
lost the money he had inherited and often found it hard to make a 
living. All this time, however, he went steadily on with his study 
of birds, and finally, in 1S24, while on a visit to Philadelphia, he 
decided to publish his drawings in a connected series. In the years 
between 1827 and 1838, the colored plates of Birds of America were 
published and were a great success. In 1838 appeared the complete 

S.H.R. MAN. 4-5-6 — IO 



146 FIFTH YEAR 

work, including over a thousand life-size colored drawings of birds 
and five volumes of descriptive matter. 

Audubon's reputation was now made and he bought an estate on 
the Hudson River (now Audubon Park in the City of New York) 
and lived there with his family. 

In collaboration with Dr. Bachman, of Philadelphia, Audubon 
helped prepare The Quadrupeds of America, the drawings for which 
were made by his sons. It was supplemented by a Biography of 
American Quadrupeds. Another selection by Audubon in Story Hour 
Readings is "The Baltimore Oriole," Eighth Year, page 22; "John 
James Audubon," Seventh Year, page 122, gives an interesting account 
of this author. 

TO THE ADVENTURER (p. 30) 

Discuss with the class life in the North, touching upon 
methods of transportation, trails, food, supplies, and dangers. 
After they have read the paragraph suggest questions like the 
following : Why did the author make each of these wishes for 
the man on the trail? Can you think of anything more impor- 
tant for him than food, fire, and strong dogs ? Why was Jack 
London especially interested in the man on the trail? Ex- 
plain to the class that this is a toast. Suggest to the children 
that they write similar toasts — to the man w T ho camps in the 
deep woods ; to the engineer on the midnight express ; to the 
captain of the great ocean liner. 

Biographical note. — Jack London (1S76-1916) was born in San 
Francisco. He studied at the Universit}^ of California, but left his 
course uncompleted to go to the Klondike. Among the other expe- 
riences in which he found material for his stories of adventure were 
voyages in sailing ships, a seal-hunting trip to Bering Sea, and a two- 
years' voyage through the South Pacific in his own 55-foot yacht. His 
stories are full of exciting action ; he is the author of several fine tales 
of the sea, but The Call of the Wild, sl story of the Klondike, is usually 
considered his best book. " How Buck Won the Bet," Seventh 
Year, page 147, is an extract from it. 



DARING AND ADVENTURE 147 

OBED'S PUMPKINS (p. 31) 

This selection is to be dramatized. For general directions 
see pages 33-39, Manual. 

The class should read the story silently to decide on its suit- 
ability for dramatization, and further re-reading will be neces- 
sary to decide on the scenes and characters to be used. A few 
speeches will have to be written by the class to fill in gaps. 
Point out that these must be in keeping with the rest of the con- 
versation. In Scene I, especially, the class should draw on 
their knowledge of pioneer homes for the stage setting and for 
the occupations assigned to the characters. 

Outline of Dramatization 

Charactees 
Obed Mrs. Moore 

Joe Mr. Moore 

Dolly A neighbor 

Ruth Indians 

SCENE I 

Characters. Obed, Joe, Dolly, Ruth, Mr. Moore, Mrs. Moore. 

Time. A winter evening. 

Place. Living room of a pioneer house. 

Action. Conversation between Obed, Joe, Dolly, and Mrs. Moore. 
(This scene is made by combining the boys' talk as they crack nuts 
by the fire (lines 23-25, page 31, to line 2, page 32) with Dolly's an- 
nouncement dine 3, page 32) and the discovery that the pumpkin 
seeds have been stolen.) 

SCENE II 
Characters. Obed, Joe, Dolly, Ruth, Mrs. Moore, a neighbor. 
Time. The evening before Thanksgiving Day. 
Place. Same as Scene I. 

Action. Obed and Joe enter with pumpkins and Joe proposes that 
they make jack-o'-lanterns. (The conversation here should make 



148 FIFTH YEAR 

clear how the pumpkin seeds were saved — page 32, lines 19-28. 
Let the class decide on how Obed and Joe can bring this out in their 
talk as they work, and write out the necessary conversation.) The 
neighbor gives the alarm. Preparations for defense. The Indians 
arrive. The trick with the jack-o'-lanterns. 

SCENE ni 

Characters. Obed, Joe, Dolly, Ruth, Mrs. Moore, Mr. Moore. 
Time. Morning of Thanksgiving Day. 
Place. Same as Scenes I and II. 

Action. Mr. Moore arrives. The story of the defense. Joe's 
summing up of the incident. 

This dramatization gives unusual opportunity for the children 
to invent and arrange action and dialogue. After the play 
has been worked out it may be written down and booklets made 
containing it. These may be illustrated by original sketches, 
as suggested on page 35. 

Have the class pronounce the following words and use them 
in sentences of their own : migrated, festival, investigate, abun- 
dance, misgiving, grotesque, cautiously, stealthily, momentarily, 
hideous, evolutions. 

Biographical note. — James Johonnot (1823-1888) was born 
in Vermont. He was for many years a teacher in the public schools 
of Illinois and Missouri and was the author of several supplementary 
readers in nature study and history. " Columbus and the Eclipse," 
Seventh Year, page 91, is by this author. 

THE CAPTIVE (p. 36) 

This selection is to be used for silent reading as a speed test. 
Let the class glance at the pictures at the beginning and end 
and then read the selection silently. Have the whole class be- 
gin reading at a signal and let each child raise his hand when 
he completes the story. Keep a record of the time each has 
taken ; a good reader should need about six minutes. 



DARING AND ADVENTURE 149 

Have the class note any words of whose pronunciation or 
meaning they are not sure. Place a list of these on the black- 
board and give drill on pronunciation. Get meanings from the 
context if possible ; if not, make a separate list of words to be 
looked for in the dictionary and when the rest of the original 
list has been disposed of, assign these to groups of children. 
Assign only a small number of words to each group. Have the 
children read the sentence containing the word and substitute 
a synonym for it. Have them pronounce and explain the fol- 
lowing : interceded, occasionally, reconnoiter, ambuscade. 

Suggest to the class that the children in the fourth grade 
would, enjoy hearing this story. Have them tell the story, 
using the following outline, one child covering each topic. 

1. Early life of Helen Patterson. 

2. The capture and the journey. 

3. Happenings at sunset. 

4. The escape. 

5. The attempt to surprise the Indians. 

Repeat the telling several times and then have the class choose 
a pupil to tell each part of the story to the lower grade. After 
the whole outline has been covered and children have been se- 
lected, let them tell the story as a group to the class before tell- 
ing it to the lower grade. Encourage all the children to tell 
the story at home. A day or two later, call for a report of those 
who have told the story. 

As a further source of interest, call attention to paragraph 
3, page 40. The background of this story is much like that of 
" Obed's Pumpkins." The class should note, however, the dif- 
ference in tone of the two stories. Have them contrast the main 
incidents in each. 

Biographical note. — John Roy Musick (1849-1901) lived in Knox- 
ville, Missouri. He wrote a series of novels with scenes laid in 
interesting periods of American history. 



i 5 o FIFTH YEAR 

PUTNAM AND THE WOLF (p. 41) 

This story is to be used for retelling and for correlation with 
history. 

Ask the class to read the title of the story and take the op- 
portunity to fix in their minds the correct pronunciation of 
" Putnam " (put'nam) as this name is often troublesome to 
children. " Connecticut " should also be noticed and correctly 
pronounced. 

Tell the children that as this is a story of colonial times they 
will enjoy it more if, as they read, they try to imagine the peo- 
ple, houses, and customs of two hundred years ago. Le # t them 
read it through, as rapidly as possible. 

Then suggest that this is a good story to retell at home in the 
evening and have them close their eyes and try to retell it men- 
tally. 

The questions on page 44 will help them to get the thought 
sequence and organize the story for oral or written retelling. 

For biographical sketch of Edward Eggleston see page 122, 
Manual. 

THE RACE TO THE VALLEY (p. 45) 

This lesson is to be read silently, for speed practice ; it also 
forms a basis for special study of action words. 

Excite curiosity by study of the picture, using questions like 
these : What does this picture suggest to you ? For what rea- 
son might these boys be racing to the valley ? Notice the bun- 
dle strapped on the sled between the boys. Might this have 
some connection with the race? Read the story as rapidly as 
you can and see what really is happening. 

The class should try to complete the reading in thirteen min- 
utes or less. The questions on page 54 will test their knowl- 
edge of the content. 



DARING AND ADVENTURE 



151 



This story is unusually full of action and good action words. 
Have the class make a list of the action words (verbals as well 
as verbs) which make the description vivid. To make the list, 
have each child read until he finds a good action word and then 
raise his hand and read the sentence in which it occurs. The 
teacher or some pupil should write these words on the black- 
board as they are given. When the list is complete have the 
children use the words in original sentences. A list of good 
descriptive terms may also be made from this lesson. Have 
each child select three useful and effective words from this 
story and put them in his word book to be used at least three 
times during the next week. Let each child make his own 
selection. This word study may be given in a period entirely 
separate from the reading period. 

Be sure that the class pronounce correctly the following 
words: treacherous, goal (not gool), solemnly, ravine. 

The following list of action words will serve as a model : 



raged 


piled 


hailed 


fumbling 


staggered 


gasped 


started 


sprang 


hurried 


designed 


equipped 


worked 


shot 


seized 


dragged 


fled 


relaxed 


bite 


loomed 


scrambled 


glued 


scratched 


hurled 


spin 


ripping 


trotting 


plunged 


signaled 


dropped 


gaped 


yawning 


jumped 


dismounted 


jerked 


trembling 


frayed 


averted 


hustle 


gliding 


whistling 


curling 


swung . 


clung 


blinked 


drawing 



Biographical note. — Arthur Wallace Peach (1886- ) was born 
at Brattleboro, Vermont, and is now a professor of English at Nor- 
wich University, in his native state. He is interested in athletics, 
and has published stories and verse, mostly dealing with Vermont 
themes. 

See paragraph 9, page 68, Manual. 



^52 



FIFTH YEAR 



SECTION II — THE NOBILITY OF LABOR 



Assist appreciation by an informal discussion of labor. Have 
the children name the kinds of work that are done in their city 
or town or neighborhood. Discuss the question of whose work 
is most important, bringing out the thought that all necessary 
work is noble ; that the man who cleans the street, thus help- 
ing to keep people well, is doing as important a service for 
humanity as the doctor who cures people. 

Have the class read silently the introductory paragraph on 
page 55. Questions like the following will help them get the 
thought : How does labor make the grain grow in the fields ? 
What word would you have used instead of " burrow " ? What 
treasures does labor bring forth from the earth ? Explain how 
labor does each of the other things mentioned in the paragraph. 
Why does labor do all these things? How is Work the " god 
of Progress"? Glance rapidly through the section noticing 
titles and pictures. What is this section about? Which se- 
lection looks most likely to be interesting ? 

WORK (p. 57) 

This poem is to be memorized. For a general discussion of 
memorization see pages 47-51, Manual. 

Read the poem aloud to the class without comment. Then 
have the children open their books and study it for the thought 
sequence, using questions and suggestions like these : Read 
lines 1-3. What different kinds of work are referred to in 
lines 2 and 3? Find the word " vagrant " in your dictionary. 
What does it mean as used here? What " vagrant wishes " 
sometimes cause us to neglect our work? With what thought 
would the poet like to fight against these wishes? Re-read 
the first eight lines. Do these thoughts apply to grown-up 



THE NOBILITY OF LABOR 153 

people only? If we regard work as these lines suggest, what 
will be the result ? 

Read the last six lines. What effect does it have upon a per- 
son to feel that his work is too great for him? Too small? If 
we feel as lines 6-8 suggest, in what spirit can we take up our 
work ? (Line n.) What shall we be able to do at the end of the 
day? (Lines 12-14.) Read aloud the lines from this poem 
that you like best. Read the poem over three times, silently, 
and then see how much of it you can repeat with me. 

Have the children read the poem again silently and then re- 
peat it orally. Continue this drill until the poem is memo- 
rized, and give frequent reviews. 

Biographical note. — Henry van Dyke (1852- ) was born at 
Germantown, Pennsylvania. He is a well-known writer and teacher 
and during the early years of the World War (1913-1917) he repre- 
sented the United States at The Hague, as minister to Holland. 
He was for years a professor of English at Princeton. 

Dr. van Dyke is a great lover of the out of doors and many of his 
best poems and essays have aspects of nature for their subject. Some 
of the class may like to dip into The Blue Flower, Fisherman's Luck, 
The First Christmas Tree, and The Other Wise Man. Other selections 
by Dr. van Dyke in Story Hour Readings are " Life in the Woods," 
Sixth Year, page 42, and "" America for Me," Seventh Year, page 333. 

HEROES (p. 58) 

This selection is to be read orally. Have the class study the 
poem carefully to get the content. Begin with conversation 
about the title, asking questions like these : What are heroes ? 
What heroes do you know ? Have you ever known of a boy 
or girl doing a heroic deed ? Tell us about it. 

Have the poem read orally by several good readers. Then 
study it stanza by stanza, on some such plan as the following : 
Re-read the first stanza aloud. What kinds of heroes are men- 
tioned here ? Re-read the second and third stanzas. In what 



i 54 FIFTH YEAR 

way was each of these boys a hero ? Have you ever known a 
hero like either one of them? What words might you use 
instead of " ruddy," " censure," " deed," " undaunted," 
"jeering"? Re-read the last stanza. In ancient Greece it 
was the custom to crown with a laurel wreath the victor in a 
contest. Read the lines that refer to this custom. Are all 
heroes crowned or known? Why not? What kind of hero 
is praised in the last stanza? Tell with details of your own 
invention the stories suggested in the second and third 
stanzas. 

Have the class answer in writing the questions on page 59, 
and close the lesson by oral re-reading of the whole poem. 

Biographical note. —Edgar A. Guest (1881- ) is a journalist 
and writer of verse. He was born in England but came to this 
country when a child. He now conducts a column of verse and hu- 
morous sketches for the Detroit Free Press. Other poems by Mr. 
Guest in Story Hour Readings are " What He Learned," Fifth Year, 
page 173, and " A Patriotic Creed," Seventh Year, page 360. 

LITTLE DAFFY-DOWN-DILLY (p. 60) 

This selection may be used for oral reading, for dramatiza- 
tion, or for both. In any case the class should read the selection 
silently as a preparation, noting any words of whose mean- 
ing or pronunciation they are not sure. Drill carefully on these 
words before going on with the oral work. The questions and 
suggestions on page 65 will help to make clear the content and 
point of the story. Have the children explain in their own 
words the meaning of the allegory. If the selection is to be 
dramatized, some rearrangement of scenes may be found de- 
sirable and a few lines of conversation will have to be invented. 
Let the children work these problems out for themselves. For 
general directions for dramatizing see pages 33-39, Manual. 
If the selection is to be used for oral reading, let one division 



THE NOBILITY OF LABOR 155 

of the class prepare it to read to the rest. (See (a), page 27, 
Manual.) 

Special attention should be called to the author of this se- 
lection and if time permits the teacher should read aloud to the 
class one or two of Hawthorne's tales ; " The Golden Touch," 
from A Wonder Book, and " The Minotaur " or " The Golden 
Fleece," from Tanglewood Tales, are suggested. 

Biographical note. — Nathaniel Hawthorne (1804--1 864) was born 
in Salem, Massachusetts, and was a descendant of one of the early 
settlers and of one of the judges in the Salem witch trials. Haw- 
thorne's childhood was a strange and lonely one ; when he was four 
years old his father, a sea captain, died of yellow fever in a South 
American port, and his mother shut herself away from the world, 
not going out and even having her meals served in her own room. 
He prepared for college under private tutors and entered Bowdoin 
when he was seventeen. While at college he made a few good friends, 
but after his graduation he went back to his lonely life in Salem and 
for twelve years wrote and dreamed, often destroying his work and 
rewriting until he had expressed his idea more nearly as he had 
conceived it. In 1836, through the help of a friend, he published 
Twice Told Tales and shortly afterwards became engaged to Miss 
Peabody, whom he married in 1842. After his marriage he went to 
live in Concord, in the Old Manse, which later was Emerson's home, 
and stayed there for four years, during which he wrote Mosses from 
an Old Manse. He left Concord to take a position in the Salem 
custom house, but after three years lost this through a change in the 
party in power. In the next two years he published his two greatest 
romances, The Scarlet Letter and The House of the Seven Gables. Later 
he was made consul at Liverpool and spent seven years in England 
and on the Continent. While abroad he wrote The Marble Faun. 
In i860 he came back to America, and died in 1864, while on a trip 
to the White Mountains. 

The finest qualities of Hawthorne's work are his skill in handling 
allegory and symbolism; his style, which is remarkably clear and 
easy ; his power of creating a poetic atmosphere ; and the consistency 



156 FIFTH YEAR 

and definiteness with which his romances and short stories enforce 
their central idea. 

A Wonder Book and Tanglewood Tales, Grandfather's Chair, some 
of the stories in Twice Told Tales, and even parts of The House of the 
Seven Gables will be enjoyed by most children. 

Other selections from Hawthorne in Story Hour Readings are 
" Pandora," Fifth Year, page 373, " The Sunken Treasure/' Sixth 
Year, page 58, "The Pine-Tree Shillings," Sixth Year, page 241, 
" Witchcraft," Seventh Year, page 67, and a letter to his daughter 
Rose, Eighth Year, page 128. 

THE MUSIC OF LABOR (p. 66) 

Have the children read this poem orally. Call attention to 
the title, which gives the keynote to the thought. Interest 
the children in the idea that the sounds made by tools and ma- 
chinery in use and the voices of people at work are the "music 
of labor." Have them notice the words used for these differ- 
ent noises, and select those which imitate the sound they name. 
For study of the content and additional work, make use of the 
suggestions and questions at the end of the poem. 

Close the lesson by having the poem re-read orally. 

THE LAY OF THE LABORER (p. 67) 

This selection is for oral reading. Ask questions like the fol- 
lowing as a preparation for the reading : What word might you 
use instead of " lay " in the title? What tools are mentioned 
in the first stanza, and for what is each used ? What does the 
laborer say he is ready to do? What word might you use in- 
stead of " ply " ? What different kinds of work are mentioned 
in the second stanza? Put the thought of the last stanza into 
your own words. Does this laborer work in the city or in the 
country ? Judging from the tools he mentions, is he a modern 
workman ? What in the account of the author makes you think 



THE NOBILITY OF LABOR 157 

the same ? Explain the last two lines in the second stanza. In 
what country does this laborer live ? 

Pronounce with the class " scythe " and " swath " and any 
other words which they may ask for, and have them explain 
the words given in note 1. 

Have the poem read orally by several good readers. 

Biographical note. — Thomas Hood (1 799-1845) was the son of a 
London bookseller. As a boy in school he was fortunate in having 
a teacher who made him " feel it impossible not to take an interest 
in learning, while he seemed so interested in teaching." Hood's 
health was delicate and he was sent to relatives in Scotland, to be 
more out of doors. While in Scotland he began writing for news- 
papers and also learned engraving and after a time he came back to 
London as sub-editor of the London Magazine. While in this position 
he met many of the literary men of London, among others Charles 
Lamb. Besides his regular work he published twice a year a Comic 
Annual, giving a humorous view of current events. 

Hood took a great interest in the social problems of his day and 
his best poems reflect this interest. "The Song of the Shirt" 
appeared in Punch, a famous English paper, at Christmas, 1843. 
The poem from which this selection is taken was written during 
his last illness. When Hood's monument was erected, some years 
after his death, many workmen showed by their presence at the 
ceremony their appreciation of his interest in their prosperity. 

THE FOUR MACNICOLS (p. 68) 

This selection is to be used as the basis of a moving-picture 
scenario. The class should read the introductory note and 
the selection, noting words that they do not understand or 
cannot pronounce. Give the necessary drill on these words 
and then let the class begin to arrange the story in scenes. 
List the scenes suggested and let the class select those that 
are to be used. The children should understand and keep in 
mind that only the most dramatic incidents should be given 



158 FIFTH YEAR 

in the " picture " — the intermediate action being suggested 
to the audience in brief explanations. 
The following outline of the action may be used : 

i. Rob selects material and makes the net. 

2. Rob takes the fish and sells them for a ball of twine 

3. Neil sells cuddies. 

4. An afternoon's fishing for mackerel. 

5. Rob becomes master of the Mary of Argyle. 

6. The new crew's first trip. 

7. Congratulations. 

After the scenes have been selected, let the class decide just 
what will take place in each scene. It may happen that the 
events of certain scenes can be combined. Work out one or 
two scenes and the necessary explanations with the class as a 
whole. Then divide the class into groups, assigning one scene 
to each group. After all the groups have completed their work 
have a class discussion of the whole to see if the parts fit to- 
gether. 

Scenario 

1. We'll have to think about things, now!" Rob MacNicol 
discusses with his cousin Neil how they shall manage to earn money 
enough to keep Rob's younger brothers, Duncan and Nicol, in school. 
They decide to make a net and trawl for cuddies. Rob goes to an old 
shed used as a storehouse and selects materials for a net. 

2. "I want to mend a net." The other boys go down to the 
shore and fish. Rob comes along, picks up the fish, washes them, and 
takes them down to the grocer's shop, where he exchanges them for 
a ball of twine. 

3. " Is there anyone wanting cuddies?" With the ball of twine, 
the boys patch up a net from the materials Rob has found. They 
get rope from the grocer by promising him a few fish each time they 
have a good haul. They hire a boat from the tailor and then set 
out. They return with a large load of cuddies which Neil sells on the 
street. 



THE NOBILITY OF LABOR 159 

4. " We haven't got them but they're in the net ! " With the money 
from the sale of the cuddies they buy a new net and set out again. 
They capture a large shoal of mackerel, which they sell to the fish 
salesman. 

5. "I am obliged to you, sir!" Rob meets the banker and is 
offered the position of master of the Mary of Argyle. After consulting 
Neil he accepts. 

6. " I'll show you how to find the herring." The new boat makes 
its first trip. Daft Sandy begs to be taken on board. He tells the 
boys how to locate herring. By following his advice, the boys secure 
a large draft of fish. 

7. Congratulations. The banker meets Rob at the quay on his 
return and congratulates him. The MacNicols now are in a fair 
way to earn an independent living. 

After the scenario has been written, have it read section by- 
section and let the class act it out in pantomime. 

While working out this scenario the class should find out 
enough about the life and scenery of the west coast of Scotland 
to give them a clear idea of the background of the story. 
Geographical readers, a map of Scotland, pictures of a Highland 
loch, of fishing scenes, and perhaps of scenes in Staffa and Iona 
will be of use. 

Biographical note. — W 7 illiam Black (1841-1898) was a Scottish 
journalist and novelist. He was fond of yachting and fishing and his 
books have many good descriptions of out-of-door life and of the 
picturesque scenery of the coast of Scotland. 

GOLDEN COUNSELS (p. 79) 

Such questions as these will help the class to grasp the con- 
tent of this selection : What do you understand by " golden 
counsels"? Read the first of these. What does it mean? 
Read and explain the second one ; the third. Are these bits 
of advice worthy of being called golden counsels ? Why ? 



• i6o FIFTH YEAR 

Biographical note. — Marcus Aurelius Antoninus (121-180) was an 
emperor of Ancient Rome who is much more famous as a philosopher. 
His Meditations were written in his leisure time and are brief state- 
ments of the rule of life he had worked out for himself. He teaches 
that the best thing to be had in life is a quiet mind, and that to 
attain it four virtues are necessary — wisdom, justice, fortitude, 
and temperance. 

" THE WORLD OWES ME A LIVING " (p. 80) 

This poem is to be read orally, for appreciation of its teach- 
ing. Create interest in the problem suggested by the title, 
using questions like these : Does the world owe anyone a liv- 
ing? Explain your answer. What must each one do if he 
wishes to obtain a living ? Have you ever known anyone w r ho 
seemed to think the world owed him a living? This poem is 
about such a young man. 

Have the class read the poem orally; questions like these 
will aid interpretation : What work were the farmer and his 
son doing? What did the boy suddenly do? What question 
did the farmer ask ? What answer did the son make ? What 
did the father reply? What do you understand by lines 16 
and 17? 

The class should memorize these two lines. Have them state 
in their own words the lesson of the poem, and then write a 
prose account of the story it tells and the moral it enforces. 

For a biographical sketch of Alice Cary see page 90, Manual. 

TUBAL CAIN (p. 81) 

Have this poem read orally for appreciation of its back- 
ground and teaching, and for comparison with " The Village 
Blacksmith." 

After the children have read the poem aloud, make use of the 
questions and suggestions on page 83, to help them organize 
its content in their minds. 



THE NOBILITY OF LABOR 161 

If the children have used Story Hour Readings, Fourth Year, 
they are probably familiar with " The Village Blacksmith." 
If they are not, have it written on the board and have the class 
compare the two poems to find similar words and expressions 

The following passages are good instances : 

Tubal Cain The Village Blacksmith 

Old Tubal Cain was a man of The smith a mighty man is he 

might 
The strokes of his hammer rung You can hear him swing his heavy 

sledge 
He lifted high his brawny hand And the muscles of his brawny 

arms 
Till the sparks rushed out in And catch the burning sparks that 
scarlet showers fly 

They will also be interested in rinding differences — in the 
places where these two blacksmiths lived, in the sort of people 
among whom they worked, in the things they made. They 
should also state clearly in their own words the point and pur- 
pose of each poem and read aloud the most significant lines of 
each. Tell them that according to the story, Tubal Cain was 
the first worker in metals, and have them watch out for other 
stories of famous or legendary blacksmiths. Interest them in 
finding out where and how weapons and agricultural machinery 
are made nowadays. 

For biographical sketch see page 114, Manual. 

TO-DAY OR TO-MORROW (p. 84) 

This selection is to be read orally. Call the children's atten- 
tion to the title as a source of interest. The class should read 
the story silently in order to be able to read it well orally. Let 
each child make a list of any words of whose pronunciation 
or meaning he is not sure. Write on the board the words to 
be pronounced, and drill on the pronunciation, taking care 

S.H.R. MAN. 4-5-6 — 1 1 



162 FIFTH YEAR 

that the children hear the correct pronunciation many times. 
Encourage the children to get the meaning of as many words as 
possible from the context ; distribute the rest among the class, 
to be found in the dictionary. In giving drill on meanings, 
have the children read the sentence containing the original 
word, and then re-read it substituting a synonym. Let each 
child select two or three good words for his word book and try 
to use each of them at least three times within the next week. 

Select one row or group of children to read the story orally. 
Have the rest of the class close their books and listen. Hold 
the listeners responsible for a criticism of the reading at the 
end of the period. The main critical emphasis should be placed 
on the good points of the reading, but one or two courteous 
suggestions as to how certain children could improve their 
reading may be permitted. 

Make use of the questions on page 88. Have the children 
notice the lawyer's name. Remind them that Solon was a 
Greek statesman, noted for his wisdom. Explain that in stories 
with a moral and in allegories names like this are often used — 
they may think of Daffy-Down-Dilly. Have the class suggest 
other situations in which this " opinion " would have been 
worth more than was paid for it. 

WORK — A SONG OF TRIUMPH (p. 89) 

This poem is to be memorized. (See general directions, pages 
47-51, Manual.) 

Have the children notice the title of this selection. Em- 
phasize its significance by questions like these: Have you 
ever felt like singing a song of triumph when you have 
mastered or accomplished some piece of work? Should we 
enjoy our work? If we do not, what may be the reason? 

Read the selection aloud to the class, bringing out the joy 
and triumph and music of the language. Then have them 



THE NOBILITY OF LABOR 163 

study the poem for the thought, stanza by stanza, assisting the 
interpretation by questions and suggestions : What is the first 
word of the first stanza? What do the second, third, fourth, 
and fifth lines of the stanza tell us to do ? What is meant by 
" Work that springs from the heart's desire "? What is said 
about this kind of work? How is such work a " stern com- 
mand"? What is a challenge? Have you ever felt the chal- 
lenge of some task or work? Read the stanza aloud. 

Read the first two lines of the second stanza. In what way 
are they like the corresponding lines of the first stanza? What 
do we thank God for in the first stanza? What in the second? 
What effect does pride in one's work, and the feeling that one 
can master or conquer it, have upon our lives? (Lines 13-20.) 
Read the line or lines that tell us that work (a) makes the blood 
flow faster and purifies it ; (b) fills us with life and hope ; 
(c) encourages the thinker to write or invent things ; (d) fills 
us with energy; (e) rouses us to action. Read the stanza 
aloud. 

Read the first two lines of the third stanza. How do they 
differ from the corresponding lines in each of the two preced- 
ing stanzas ? For what does the author thank God in the third 
stanza ? How is the idea of speed made more vivid in the third 
line? To what is it compared in the fourth and fifth lines? 
What is work called in the first line on page 90? What 
does this power do? (Lines 1-6, page 90.) How does work 
(a) guide the purposes; (b) hold the runaway wishes back; 
(c) hold the will to one steady track ; (d) speed the energies ; 
(e) triumph over disaster? Is work always pleasant? Read 
the lines that tell us it is not. Read the third stanza aloud. 

Compare the first two lines of the fourth stanza with 
the corresponding lines of each of the three preceding stanzas. 
For what does the author thank God, in lines n-14, page 90, 
in the fourth stanza? What questions are asked in the next 
two lines ? What are some of the things that " Work, the Titan," 



1 64 FIFTH YEAR 

or giant, and " Work, the Friend," accomplishes ? Read the last 
two lines of the poem. Read the last stanza aloud. 

Notice the increasing length of the stanzas. How many 
lines are in the first, the second, the third, and the fourth, 
respectively? As the thought of the poem grows, the stanzas 
increase in length. 

Select from this poem any lines which you particularly like 
and read them to the class. Is the thought of this poem good 
enough to make it worth memorizing? The different stanzas 
are so much alike in form that the poem will not be difficult to 
memorize. We have noticed the similarity in the first lines of 
each stanza. Read lines 6,7,8, and 9, page 89. Read the lines 
of the second stanza which are similar to 6, 7, 8, 9. In what 
lines in the third stanza do we get the same form? In what 
lines of the fourth ? 

Have the poem read two or three times by good readers, the 
children following with their books open. Then read the poem 
aloud and let the class repeat at the same time as much of it 
as they can, without referring to their books. Have them 
keep their books open, to refer to when necessary. Let the 
class repeat the poem in this way two or three times, then 
spend a little additional time on the troublesome lines and sec- 
tions. Repeat the poem many times during the first few days, 
until it is thoroughly learned, and review it frequently. 

Biographical note. — Angela Morgan was born in Washington, 
D.C., and has written for newspapers in Chicago, Boston, .and New 
York. In 191 5 she was a delegate to the International Congress of 
Women at The Hague, where she read her poem " The Battle Cry 
of the Mothers." She is a contributor to many magazines and is 
also well known as a lecturer and reader. 

See paragraph 9, page 68, Manual. 



TALES OF THE SEA 165 

SECTION III — TALES OF THE SEA 

Interest the class in the subject of this section, using questions 
such as these : What are the stories in this section about ? 
What stories of the sea do you know? Glance through this 
section noticing the titles and pictures. Do they recall any 
additional stories to your mind? Do you like sea stories? 

Have some good reader read aloud the introductory stanza, 
page 91. Ask such questions as the following: Where would 
the author of this stanza like to live? What sort of weather 
does he like ? Would you care for such a life ? Why, or why 
not? 

Biographical note. — Epes Sargent (1813-1880) was an American 
journalist, a contemporary of Daniel Webster. He edited news- 
papers in Boston and New York and wrote plays, stories, verse, and 
biography. The song " A Life on the Ocean Wave," from which 
this stanza is taken, was once very popular. 

THE WHITE SHIP (p. 93) 

Have the class read this selection silently for the sake of the 
narrative, which is exceptionally good. They should be able 
to finish it in less than six minutes. Before they begin the 
selection read the introductory note aloud to the class and let 
them wonder what happened to The White Ship. Have them 
make a list of any words they have trouble in understanding or 
pronouncing. Give a drill on the words listed by the class 
and on those following : contract (accent on last syllable), An- 
jou (an' job), Barfleur (bar-flur'), liege, dissolute, debauched, 
terrific, agony, l'Aigle (la/gl), Rouen (roo'aN 7 ), benumbing, 
brilliant. 

The class should be able to explain points like the following : 
what the king of England and his son were doing in Normandy ; 
what water they had to cross to go home ; why the prince did 



166 FIFTH YEAR 

not go in the ship with his father ; what was the direct cause 
of the shipwreck ; what caused the cry that was heard in the 
king's ship ; what was Fitz-Stephen's plan for saving the prince : 
why the plan failed ; why Fitz-Stephen acted as he did when 
he heard what had happened ; how the news reached England 
of the shipwreck and of the fate of the prince, Fitz-Stephen, 
and the rest. Let the children select portions of the narrative 
that they think exceptionally clear and good and read them 
aloud to the class. Have the class answer in writing the ques- 
tions on page 97. 

Biographical note. — Charles Dickens (1812-1870) was born near 
Portsmouth, England, and had a haphazard education, including 
only a few years of school. But he read much work of the older 
English novelists and was a keen observer of many sorts of people. 
His experience when only eleven in a factory where he pasted labels 
on bottles, and later in an attorney's office and as a reporter of Parlia- 
mentary debates, gave him much material for his novels. The ups 
and downs of his family also brought him into contact with scenes 
and people which he turned to wonderful account in his descriptions 
of debtor's prisons and life in the poorer parts of London. His 
early writings were sketches of London life and had many of the 
qualities of his first important book, Pickwick Papers, which many 
critics think one of his best. 

His next book, Oliver Twist, is a story with a dark background of 
crime and poverty, but with vivid scenes and a few unforgettable 
characters. Other novels by Dickens are David Copperfield, which 
has much of the author's own life in it ; .4 Tale of Two Cities, a 
thrilling tale of the French Revolution; A Christmas Carol, one of 
the most warm-hearted stories ever written ; Great Expectations, 
which combines remarkable atmosphere and local color with delight- 
ful humor and fine character creations ; and The Old Curiosity Shop, 
with a medley of characters, good, bad, and absurd, and scenes that 
shift between country roads and London slums. 

Dickens's stories are so long and leisurely, so crowded with char- 
acters and events and often so complicated in plot, that many 



TALES OF THE SEA 167 

children, and older people as well, find them hard to read. There are, 
however, some good selections and adaptations of Dickens for chil- 
dren, and passages from the novels can often be selected and adapted 
by the teacher for the special needs of a class. The selections given 
in Story Hour Readings are " The Kettle and the Cricket," Sixth 
Year, page 286 ; " The Crachits' Christmas," Seventh Year, page 96 ; 
"Tom Pinch's Ride," Seventh Year, page 198; "The Pickwick 
Club on Ice," Seventh Year, page 263 ; " Gradgrind's Idea of Educa- 
tion," Seventh Year, page 281 ; " Christmas Eve at Fezziwig's," 
Seventh Year, page 384 ; a letter to Mrs. Fields, Eighth Year, page 
132; "The School in an Uproar," Eighth Year, page 173; and 
"A Child's Dream of a Star," Eighth Year, page 327. 

THE REVENGE (p. 98) 

This poem is to be read orally and studied for narrative in- 
terest and correlation with history. 

Read the explanatory note and the poem aloud to the class, 
without comment. Then have the children read from the poem 
in answer to the following groups of questions : 

1. Where was the English fleet lying? What message was 
brought to them? What word is used in line 3, page 98, mean- 
ing a light sailing ship ? What did Lord Howard decide to do ? 
Why did he so decide ? What reply did Sir Richard Grenville 
make to Lord Howard? Why did Grenville refuse to fly? 
Read on page 99, (a) the lines describing Lord Howard's de- 
parture, (b) the lines telling what Sir Richard did and how the 
men felt and why, (c) the lines telling how many able-bodied 
men Sir Richard had, and what he did. 

2. Read the question the men asked and the arguments they 
used. Read Sir Richard's reply. In what three different ways 
does Sir Richard refer to the Spaniards in lines 1-3, page 
100? Read the lines telling us (a) what Sir Richard and his 
seamen did, and (b) the name of Sir Richard's ship and what 
it did. 



1 68 FIFTH YEAR 

3. What did the Spanish soldiers do? What was the 
San Philip, and why did she seem to hang like a cloud above 
the men on the Revenge? Did the San Philip engage in the 
battle? What two lines in different stanzas tell you that 
this battle took place a long time ago ? 

4. Read the stanza beginning " And the sun went down," 
etc., page 101. What does it tell you? Describe the pictures 
that you see as you read it. Read the next stanza, which 
tells you that Sir Richard was a man of great courage and 
endurance. 

5 . Read the next stanza. Contrast this picture with the one 
that you saw as the sun went down. What did Sir Richard 
say? What did he ask the master gunner to do and what rea- 
son did he give? What reply did the gunner make? What 
did the seamen say (lines 21-25) ? Read lines 26 and 27, page 
103 and tell what the)?- mean. Where was Sir Richard taken ? 
Read his final words. How did the Spaniards regard Sir Rich- 
ard? Read from line 22, page 104,. through to the end of the 
poem. This passage tells us of the final fate of the Revenge. 
What became of the Revenge, and of the Spanish fleet ? From 
where did the wind that destroyed the fleet come? Which do 
you admire more, Sir Richard Grenville or Lord Howard? 
Why? 

Tennyson found the material for this poem in an account of 
the last fight of the Revenge, written by Sir Walter Raleigh, 
who knew Grenville well and came from the same part of Eng- 
land. The class should know that in Sir Walter Raleigh's 
time Spain was the greatest maritime power of Europe and had 
vast possessions in the New World. Have the children find in 
the poem a reference to this. England was at this time begin- 
ning to develop her great commercial and colonial empire and 
was already a rival of Spain. Grenville was an associate of 
Drake and of the other famous Elizabethan seamen. He helped 
Raleigh in one of his attempts to found a colony in Virginia. 



TALES OF THE SEA 169 

The questions on page 105 supply further interesting mate- 
rial for study. 

Discuss the author of this poem with the class, having them 
recall other poems of Tennyson's and some facts about his life. 

For biographical sketch of Tennyson see page 129, Manual. 

The following words should be carefully pronounced for the 
class: pinnace, Inquisition, Bideford (bid'e-ferd), Devon 
(dev-z/n), bow (to rime with " now "), Seville (to rime with 
"devil"), tiers, galleons, alien. 

Have the poem read orally at the close of the lesson. 

GRACE DARLING (p. 106) 

This selection is to be used as a speed and content test. For 
directions for giving tests see pages 13-17, Manual. 

Have the class look at the picture to get a hint of the story. 
Then tell them that at the signal they are to uncover the page 
and read as rapidly as they can for two minutes. When time 
is called they should mark the last word read and complete the 
story as quickly as they can. When they have finished reading 
have them close their books and answer the following questions : 

1. What had happened to the ship? 

2. Who was Grace Darling ? 

3. What did she hear in the darkness of the night? 

4. What made it difficult for Grace and her father to reach the 
wreck ? 

5. What was done with the ship's crew. 

For further study use the material on page 108 and questions 
and suggestions like these : What famous lighthouses have you 
heard of or read about? Some lighthouses are on the coast, 
some on lonely islets ; try to imagine the life of the keeper of 
one of the latter. What American woman poet lived during 
her girlhood in a lighthouse ? 

For biographical sketch see page 105, Manual 



170 FIFTH YEAR 

WHEN THE GREAT GRAY SHIPS COME IN (p. 109) 

This poem is to be read orally and studied appreciatively. 

Have the class look at the pictures at the beginning and end 
of the poem. They should recognize what these ships are and 
tell why they are called " the great gray ships." Read aloud 
to the children the explanatory note at the end of the poem and 
the poem itself. Then go on to a detailed study of each stanza, 
somewhat as follows : Read the first stanza and answer the 
questions in paragraph 2, page in; read the second stanza 
and answer the questions in paragraph 3, page in. Read the 
third stanza. What was the " summons " referred to? How 
was it answered? Read the last stanza: What is said about 
war in the first half, and about peace in the last hah ? Is peace 
always to be preferred to war? Discuss. 

Select any part of this poem that you particularly like and 
read it to the class. Are there any lines that you would like to 
put into your book of memory gems? 

Pronounce for the class the following words and any others 
they stumble over : leagues, beloved, sovereign, myriad, vigils, 
seething. 

At the close of the lesson read the poem to the class, or have 
it read by some good reader, the class listening with books 
closed. 

Biographical note. — Guy Wetmore Carryl (1873-1904) was 

born in New York and educated at Columbia University. He 
was an editor and magazine writer. 

OUT OF THE WRECK (p. 112) 

This selection is to be read silently, for the story, as rapidly 
as possible. Good readers should complete it in nine minutes. 
Before beginning the reading have the class notice the picture 
on page 112, the author's name, and the name of the book, on 



TALES OF THE SEA 171 

page 118. Get them to recall what they already know about 
Robinson Crusoe and its author. Have them read note 2 on 
page 118 and make use of the biographical sketch, page 115, 
Manual. 

After the story has been read use the following directions and 
questions, with those on page 118, as a basis for study : " The 
Shipwreck," Fourth Year, page 332, gives the part of the narra- 
tive which comes immediately before this ; borrow a Fourth 
Year reader and select a pupil to read the selection aloud. 
How did Crusoe feel when he realized that he was all alone on 
the island? How did he get to the ship? What accidents 
did Crusoe have during this adventure ? Why was he anxious 
to stay near the seashore? On a later trip he brought ashore 
with him the two cats which belonged to the ship ; the ship's 
dog swam ashore with him on his second journey and became 
his constant companion. 

Have each child make a list of any words in this lesson of 
whose meaning or pronunciation he is not sure. Give word 
drill on the words asked for. Pronounce with the class : bis- 
cuit, extremity, necessaries, rummaging. 

THE INCHCAPE ROCK (p. 119) 

This poem is to be read aloud, and studied for its narrative 
interest. 

Introduce the lesson by calling attention to the title. Ex- 
plain that this is another story of shipwreck, and interest the 
class in the methods by which ships are warned of the pres- 
ence of dangerous rocks or shoals — lighthouses, lightships, 
whistling buoys, bells. Before the reading begins drill the class 
on the pronunciation of words that may give trouble : Abbot of 
Aberbrothok, buoy, plague, scoured. Pronounce each word 
distinctly and have the children pronounce it until it is per- 
fectly familiar to them. 



172 FIFTH YEAR 

Have good readers read the poem to the class. Study the 
narrative, using the following questions and the study notes on 
page 122 to stimulate interest and appreciation : Into what two 
parts is this story divided? What sort of day is described in 
the first part? In the second? How long is the interval be- 
tween them? At what time of day did the shipwreck take 
place ? How do you know ? Contrast this shipwreck with that 
of The White Ship; with Robinson Crusoe's. Who is respon- 
sible, nowadays, for taking care of lighthouses ? In this story, 
a good monk who wished to help the sailors placed a bell on 
the rock to warn them. How do you think it was arranged? 
A lighthouse stands there now. 

Biographical note. — Robert Southey (1774-1843) was an English 
poet and prose writer, a friend of Coleridge, and an acquaintance of 
Wordsworth, near whose home he lived most of his life. Southey 's 
long poems are now very little read and his prose, though good, is not 
of the first rank, but his ballads and stories in verse are still enjoyed. 
Other poems by Southey in Story Hour Readings are " The Battle 
of Blenheim," Sixth Year, page 107, and " The Falls of Lodore," 
Seventh Year, page 210. 

AN ADVENTURE WITH A SHARK (p. 123) 

This selection is to be read silently for narrative interest. 

Begin the lesson with an informal discussion of sharks, let- 
ting the children tell what they know about them. When in- 
terest has been awakened, have the class read the story silently ; 
they should be able to finish it in a little over three minutes. 

The following questions and suggestions with those on page 
125 will help to develop the narrative: Why were the sail- 
ors especially glad to go swimming ? Why was the sail lowered 
into the water? What qualities did the old gunner's feat re- 
quire? What other stories that are like this have you heard? 
(If the class know the William Tell legend, they may mention 
it ; if not, they may be interested in hearing it.) 



TALES OF THE SEA 173 

A WET SHEET AND A FLOWING SEA (p. 126) 

This selection is to be read aloud for appreciative study. 
The title suggests the keynote — the sailor's love of a stiff 
breeze at sea. Explain that the sheet is the rope attached to a 
sail in order to pull it into a position where the wind will strike 
it at the right angle. When the ship heels over in the breeze 
this rope is nearer the water and is wet by the flying spray as 
the ship cuts through the waves. On such a day the sea seems 
to flow away in the wake of a ship running swiftly before the 
wind, as this one is supposed to be doing. 

Have the poem read aloud by a good reader. As they listen 
to the poem the children should take cognizance of the lines that 
suggest the strong wind and the rush of the waves. Call at- 
tention by questions to other points in the poem : Is the ship 
homeward or outward bound? Which is the " lee " side of a 
ship ? In the second stanza, who is supposed to be wishing for 
a gentle breeze? Which sort of weather does the sailor like? 
Read the lines that tell how he feels about his ship and the 
sea. What does he mean by the "hollow oak" in the last 
stanza? What are the signs of storm in the sky? To what 
music do the sailors listen? 

If Lucas's A Book of Verses for Children is accessible, the 
class may be amused by a humorous poem " The Sailor's Con- 
solation" which has a theme not unlike this one. The picture 
on page 122 gives an idea of a full-rigged ship — the children 
may be able to find others. 

Biographical note. — Allan Cunningham (1784-1842) was a Scot- 
tish poet and literary man. He started out as a stone mason's 
apprentice, but he soon began to try his hand at song writing and in 
1 810 went to London. There he worked for a while as a newspaper 
reporter and in 1814 became secretary to a famous sculptor. He wrote 
prose as well as verse, but he is remembered nowadays chiefly by the 
poem given here, which is one of the best sea songs in our language. 



i 7 4 FIFTH YEAR 

THE WRATH OF THE WINDS (p. 127) 

This selection is to be read silently, for the sake of the narra- 
tive. A little less than nine minutes is a sufficient time for the 
reading. The introductory note and the questions and sugges- 
tions on page 133 will serve as a basis for word study and ap- 
preciation of the content. The following words should be 
pronounced with the class: decades, irresistible, seine (san), 
interposition, conquerors, lurid, Souris (soo'ris). 

The gulf mentioned is the Gulf of St. Lawrence ; Souris is a 
small seaport in Prince Edward Island. The class should find 
these places on the map, and decide how far from home the 
Nimbus was. 

Explain to the class that a harbor which is naturally too open 
to the sea to give shelter in storms is sometimes improved by 
having a breakwater (a strong wall of cement, stone, or timber) 
built across part of the entrance. 

Biographical note. — Raymond McFarland (1872- ) was born 
in Maine and educated at Amherst College. He is now a professor 
at Middlebury College, in Vermont. Besides the story from which 
this extract is taken he has written A History of New England Fish- 
eries. 

THE HOME OF THE SEA FAIRIES (p. 134) 

This poem is to be read aloud for enjoyment of its music and 
imagery. 

Introduce the reading by having the class imagine the place 
where the sea fairies, or mermen and mermaids, are supposed to 
live. Have them tell what they think might be interesting or 
beautiful about it. Then read the poem aloud and let them 
imagine the country under the sea as the poet describes it. 

Call attention to the music of the language itself and to the 
musical sounds mentioned in the poem. Read the poem again 
and have the children try to imagine these and to see the 



THE KEYS TO SUCCESS 175 

pictures suggested. The reference in line 15 is to an old idea 
that whales never closed their eyes. 

Biographical note. — Matthew Arnold (1822-1888) was the son of 
a famous English teacher, Dr. Arnold, headmaster of Rugby, who is 
the dominant figure in Tom Brown's School Days. 

Matthew Arnold was during most of his life an inspector of schools 
and did much valuable work in that position. His essays on litera- 
ture, and on social, religious, and political problems were written in 
the hope of awakening in the English people a real desire for liberal 
culture. His poetry is thoughtful, restrained, a little sad, a little 
cold, but always sincere and often beautiful. Children may enjoy 
selections from it — perhaps further extracts from " The Forsaken 
Merman," the descriptive part of " Dover Beach," and some of 
" Sohrab and Rustum." 

See paragraph 9, page 68, Manual. 

SECTION IV — THE KEYS TO SUCCESS 

Introduce the idea of this section by questions and sugges- 
tions : What is the title of this section? Glance through 
the section, noting the titles of the selections. Turn back to 
page 135. What does " The Keys to Success " suggest to you? 
Name some of the qualities, or keys, that you think are neces- 
sary to success. 

Let the class read silently the introductory paragraph on 
page 135, and name the keys mentioned in it. Let several 
children select one of the qualities and suggest a way of cultivat- 
ing it. 

NOBILITY (p. 137) 

This poem is to be read orally, for its teaching and for the 
selection of lines to be remembered. Create interest by calling 
the children's attention to its author. Refer to the poem by 
Phcebe Cary in Story Hotir Readings, Fourth Year (page 106) 
and to the biographical sketch (page 90, Manual) of the Cary 



176 FIFTH YEAR 

sisters. Have them compare this poem with " The World Owes 
Me a Living," page 80, Fifth Year. 

Have the poem read aloud by some good reader, and use the 
questions and suggestions on page 138 as a basis for apprecia- 
tive study and word drill. Encourage the children to select 
lines which they especially admire, for their books of memory 
gems. 

Pronounce the following words with the children : mete, 
avenges, malice, beguile. 

THE COURAGE THAT WINS (p. 139) 

This selection is to be read by one section of the class to the 
rest as audience. The audience section of the class should crit- 
icize the reading, emphasizing the good points. Use the sug- 
gestions and questions at the end of the selection as study ma- 
terial. Have each child select from the story three words which 
he has never used and use them in original sentences. The 
children should place these words in their word books and try to 
use each at least three times in conversation during the next 
week. Pronounce the following words with the class : pro- 
prietor, curiously, inquiringly, perseverance. 

The following additional questions may be used in develop- 
ing the thought of this story : How old was the captain when 
he made the voyage described in the story ? How do you know ? 
Why were the sailors and passengers willing to work so hard 
carrying out his orders ? How was the ship propelled ? What 
does this tell you about the date of the story ? What two quali- 
ties did the captain's conduct show that he possessed. How had 
he shown these as a boy? 

This story, with " The Quaker's Gift," page 147, " The 
Magic of Kindness," page 163, and " Pleasing Everybody," 
page 171, are suggested for a special study in oral reading. 
Divide the class into five groups and assign to four of these 



THE KEYS TO SUCCESS 177 

one selection each, to be read orally to the rest of the class. 
Have the fifth group act as judges. Let each group choose 
a leader and be responsible for preparing and presenting 
the lesson. As each group presents its selection, have the 
leader make explanations, ask questions, conduct discussions, 
and give any word drills needed. The questions and sugges- 
tions at the end of each selection will furnish the material for 
these studies. Allow about fifteen minutes for the prepara- 
tion of the lesson, letting each group work together in a corner 
of the room. 

The judges should prepare to read a poem to the class next 
day. " The Will and the Way," page 162, is suggested. 

After each group has read its selection, have the judges re- 
tire, elect a chairman, decide which selection was read best, 
and report their decision to the class. Have them, if possible, 
give the reason for their choice. While the judges are making 
their decision, let each group read silently the three stories pre- 
pared by the other groups. 

BOOST YOUR TOWN (p. 144) 

This selection is for oral reading with appreciation of the idea 
of the citizen's responsibility. 

Begin by calling the attention of the- class to the unusual 
title. Questions like these will provoke discussion : What does 
this title mean? Why should you boost your own town? If 
things in your town are not exactly right, what should you do ? 
To whom do the public libraries, parks, schools, etc., in a town 
belong? Who is responsible for making it a pleasant place to 
live in? 

Have the poem read aloud by a good reader and let 
the class answer the questions at the end of the selection. Al- 
low each child to read aloud any part of the poem he thinks es- 
pecially good. 

S.H.R. MAN. 4-5-6 — 12 



178 FIFTH YEAR 

FIND A WAY OR MAKE IT (p. 145) 

This poem is to be read orally, for appreciation of the worth 
of perseverance and resourcefulness. Call attention to the 
picture and ask questions to awaken interest. What is repre- 
sented in this picture? Where is this castle situated? Was 
it an easy thing to take a castle or a fortress two thousand 
years ago? Why not? 

Read the poem aloud to the class and point out that the first 
stanza tells the story and the others apply its lesson to differ- 
ent situations. Explain to the class that the Romans were one 
of the great conquering races of ancient times. They were es- 
pecially noted for the fine roads which they built through many 
of the countries they conquered. Some of these roads are still 
in use. " There is no royal road to learning " is said to have 
been the reply of Euclid to King Ptolemy of Egypt, who wanted 
to learn geometry without the trouble of studying it. Helicon 
is the name of a mountain in Greece, supposed to be the home 
of Apollo, the sun god, and the Muses, who were goddesses of 
lyric poetry, music, dancing, comedy, tragedy, oratory, epic 
poetry, history, and astronomy. To "drink of the fountains of 
Helicon" means to make progress in art or science. 

The questions on page 146 should be used to develop the 
teaching of the poem and for word study. Have each child se- 
lect the lines or stanza that he likes best. He should read his 
selection to the class and afterwards copy it into his book of 
memory gems and memorize it. 

Biographical note. — John Godfrey Saxe (181 6-1 887) was born 
in Highgate, Vermont. He studied law and practiced with success 
but finally gave it up for journalism. He contributed to Harper's 
Magazine and the Atlantic Monthly and his verses both humor- 
ous and serious were very popular. Other poems by Saxe in Story 
Hour Readings are " The Blind Men and the Elephant," Fifth Year, 
page 225, and " Solomon and the Bees," Sixth Year, page 255. 



THE KEYS TO SUCCESS 179 

THE QUAKER'S GIFT (p. 147) 

For method of teaching this lesson, see page 176, Manual. 

Pronounce with the class : apprenticeship. 

Call the attention of the class to the two quotations from the 
Bible on page 149. Have them state what these have to do 
with " The Quaker's Gift." 

BETTER LATE THAN NEVER (p. 150) 

This poem is to be read orally ; the title contains the main 
idea to be developed. 

Have the poem read aloud by some member of the class and 
let the children answer the following questions and those at the 
end of the selection : Have you ever heard people say " Better 
late than never "? On what occasions did they say it? To 
what is life compared in this poem? What does line 10 mean? 
Give in a single sentence the message of the poem. 

Pronounce with the class : endeavor. 

Biographical note. — Sidney Dyer (1814-1898) was a clergyman 
who was for a time a missionary to the Choctaw Indians. Later 
he was for many years secretary of the American Baptist Publication 
Society. His writings were mostly songs and religious verse. 

BETTER THAN GOLD (p. 151) 

This selection is to be read orally for its teaching. Have the 
class state in one sentence what this teaching is. 

Pronounce with the class : grandeur, sympathies, conscience. 

As aids to appreciation use questions like the following and 
those at the end of the selection : Name some of the " simple 
pleasures " referred to in line 4. What are some of the " cares 
of wealth"? Find two lines in the poem "Nobility," page 
137, that mean the same as the last two lines of this poem. 



i8o FIFTH YEAR 

Biographical note. — Abram J. Ryan (1839-1888), one of the best 
known of Southern poets, was born in Norfolk, Virginia. He was a 
priest of the Roman Catholic Church, and served during the Civil 
War as a chaplain in the Confederate Army. After the war he was 
rector of a church in Mobile and edited several religious papers. 
" The Conquered Banner " is one of his best poems. " Song of the 
River," Sixth Year, page 18, is by Father Ryan. 

THE BROKEN KITE (p. 152) 

Divide the class into groups and have each present the play. 
Let the class select .the three who played their parts best to 
present the dramatization to some other class or at some en- 
tertainment. The actors should give attention to the stage 
directions, printed in italics, and to the interpretative note on 
page 157. Let them decide what leading thought is to be 
brought out, and what traits each character is to display. 
Make them realize that the excellence of their performance 
will depend greatly on their clear understanding of their lines. 

THE KEY TO THE BOX (p. 158) 

This fable in verse is to be read orally and its moral stated in 
one sentence. The following- questions, with those at the end 
of the selection, will assist discussion : Do you know of any 
stories like this that you can tell to the class? What other 
poem by this author have you read ? (If the class has not read 
" The Toys Talk of the World," Fourth Year, page 50, borrow 
a Fourth Year book and have some child read the poem to the 
class.) How is this poem like " The Toys Talk of the World " ? 
What do you call stories with a moral, where things or animals 
talk ? What other fables do you know ? Retell this story as a 
prose fable and put the moral into a sentence of nine or ten 
words. Make up a similar fable of your own, about a pen and 
its holder. 

For biographical sketch, see page 75, Manual. 



THE KEYS TO SUCCESS 181 

THE OLD SCRAP BOX (p. 159) 

This selection is to be used as a speed test. For details of 
method, see pages 13-17, Manual. 

The children should read for one minute, and mark the last 
word read. Then have them complete the selection as quickly 
as possible and answer the following questions : 

1 . How did Mr. Peters advertise for boys ? 

2. How did he try them out ? 

3. How long did it take Crawford Mills to do this job? 

4. When Mr. Peters went up to look at the box, what did he find 
Crawford had done ? 

5. What was the motto on the card that Mr. Peters gave Crawford ? 

After the class have counted the words for their speed records, 
have them answer orally the questions on page 161. The sug- 
gestions for word study should also be carried out, any other 
words with which the class have trouble being added to the list. 
Have the class state briefly (a) why Mr. Peters told Crawford 
that the motto told his fortune ; (b) which " keys to success " 
Crawford had. 

Biographical note. — Mrs. G. R. Alden (1841- ) was born in 
Rochester, New York, and now lives in Palo Alto, California. Under 
the pen name of " Pansy " she is the author of numerous books, 
mostly fiction. She edited the juvenile paper Pansy for some 
years, and was a contributor to various religious periodicals. 

THE WILL AND THE WAY (p. 162) 

This lesson is to be prepared by a group of the class in the 
same way as the " The Quaker's Gift." See page 176, Manual, 
for method to be followed. 

Have the children use questions like the following in their 
study of this lesson : What other poems in this section have a 
message similar to this one? Select the thought you like best 
and read it to the class. Write it in your book of memory gems 



i82 FIFTH YEAR 

and get it by heart. Select another appropriate name for this 
poem. Compare line 23 with the last of the Golden Counsels, 
page 79, and put the thought briefly in your own words. Is 
the " battle of life," line 2, a battle with people or with cir- 
cumstances ? 

THE MAGIC OF KINDNESS (p. 163) 

This lesson is to be prepared for oral reading by a group of 
the class. See page 176, Manual, for method to be followed. 

Pronounce for the class the following words and any others 
for which the group may ask: benefit, unamiable, forlorn, 
magician, ungrammatical. 

Suggest to the group who prepare this lesson that they bring 
out in their study the reason why this selection is called " The 
Magic of Kindness." 

This lesson will also furnish good material for dramatization, 
the class writing the conversation where necessary. 

Biographical note. — Louisa May Alcott (1832-1888) was born 
in Germantown, Pennsylvania. Her first stories were written for 
weekly periodicals, while she was teaching. Her Hospital Sketches 
was a collection of letters written to a newspaper while she was 
serving as a nurse during the Civil War. In 1868 and 1869 she 
published Little Women, her best and most popular piece of work. 
It was followed by a number of books for young people, among them 
Little Men, An Old -Fashioned Girl, Eight Cousins, and Rose in Bloom. 
Her stories are pleasant and wholesome reading, and Little Women 
gives an interesting picture of the author's home in Concord. 

A PSALM OF LIFE (p. 166) 

This selection is to be read orally and studied to discover its 
central idea. 

Begin by calling the attention of the class to the author and 
the title, using questions like these : Who is the author of this 
poem? W 7 hat other poems by Longfellow have you read? 



THE KEYS TO SUCCESS 183 

What is the name of this poem ? What word might you use in 
place of " psalm "? 

Read the poem to the class and then have them study it for 
the content, following the plan of notes 1 and 2, page 167. 
Questions like the following will stimulate thought: What 
does the word " numbers " usually mean? What does it mean 
in the first stanza? What is the connection between these 
two meanings ? What other poems have you read that compare 
life to a battle? To what other things do poets compare life? 
(See page 150, line 1, and page 167, lines 9-12.) In what other 
poems in this section do you find the thought of the last stanza ? 
Select your favorite stanza, memorize it, and recite it to the class. 

Close the lesson by having the whole poem read aloud by the 
class. 

For biographical sketch, see page 98, Manual. 

SOLOMON'S CHOICE (p. 168) 

This selection is to be read orally and studied for the thought. 

Explain the background of this story to the children, some- 
what as follows : Solomon was a Hebrew king, the son of King 
David. Solomon was said to be the wisest man of his time, 
and many interesting stories are told of his wise decisions ; 
according to one legend he could talk with the birds and beasts 
in their own language. He became a very rich king as well as 
a very wise one, and his merchants traded with many strange 
countries and brought back great wealth. This story of the 
choice he made when he first became king is told in the Bible. 

Read the selection to the class and use queries and suggestions 
to help them get the content : What does the first paragraph 
tell us? Put into your own words the part of Solomon's 
answer given in the second, third, and fourth paragraphs. 
Read the part of the third paragraph which shows that Solo- 
mon felt very humble. Read the fifth paragraph and tell what 



1 84 FIFTH YEAR 

he finally asked for. What do you think of his choice ? Give 
reasons for your answer. What is said about this speech in 
the sixth paragraph? Read silently the next four paragraphs 
and state in your own words the answer God made to Solomon. 
What things which Solomon might have chosen are mentioned 
in the seventh paragraph ? What would you have thought of 
Solomon if he had asked these things for himself ? In the eighth 
paragraph, what does God say He has given to Solomon ? In 
the ninth paragraph, what other gifts are mentioned? What 
promise is made in the last paragraph ? 

Pronounce with the class : righteousness, discern, statutes. 

Have the class re-read the selection, each reading a paragraph. 

PROMOTED (p. 169) 

This selection is to be read orally. The main thought to be 
brought out is the connection between the title and the first 
two lines of the poem, which form a sort of refrain. 

Point out to the children that the title of this poem is a fa- 
miliar word used in a new way. Arouse interest by conversation : 
What do we usually mean when we speak of a person being pro- 
moted? This is one of the poems written during the World 
War. Let us read it and see whether " promoted " is used here 
in the ordinary sense. 

Read the poem to the class and have them answer the ques- 
tions on page 170. 

In beginning the study of this poem, call attention to its 
structure. Questions and suggestions like these may be used : 
What two things do you notice about the stanzas of this poem ? 
In what other poem that you have read lately did you find 
stanzas rather like these ? (" W T ork — A Song of Triumph," page 
89.) What new ideas are added in each of these stanzas? 
Tell in your own words the story that is suggested. Why, 
do you think, are the lines of the first stanza repeated as 






THE KEYS TO SUCCESS 185 

a refrain ? What have these lines to do with the title ? What 
do the last three lines of the poem mean ? Memorize the sec- 
ond stanza and write it in your book of memory gems. 

Pronounce with the class : fiery, fealty. 

Close the lesson by having the poem as a whole read orally. 

Biographical note. — John Oxenham is an English writer who has 
traveled widely in the United States, Canada, and Europe. He began 
writing as a relaxation from business, but found it so enjoyable 
that he made it his main occupation. He has written many novels 
and several volumes of verse. 

PLEASING EVERYBODY (p. 171) 

This selection is to be prepared by a group of the class for 
oral reading. The plan to be followed is outlined on page 176, 
Manual. 

Additional study questions may be suggested : What sort of 
weather did the Wind bring from each point of the compass? 
Would the story fit our part of the country in this respect ? 

WHAT HE LEARNED (p. 173) 

This selection is to be memorized. Eor directions and plan, 
see pages 47-51, Manual. 

Explain that this is another poem of the World War and that 
it tells what one man learned from his experiences overseas. 

Read the poem to the class and ask them to state in a single 
sentence what they think this soldier discovered. To make 
clear the thought sequence and to familiarize the class with the 
wording of the poem ask questions as follows and have the class 
read the lines that answer them : In the first stanza, what 
three things does the soldier say he learned? In the second 
stanza, what is said of the general's reason for fighting? Of 
his feeling about the flag? Of his object in fighting? What 
did the soldier come to understand? In the third stanza, what 



186 FIFTH YEAR 

does the soldier say about the general's thoughts ? What does 
he say of all his comrades? What does he say was the result 
of this way of thinking? 

What thought is repeated in the fourth stanza? Read the 
lines in which it is restated in a new way. W T hat does the sol- 
dier think people will do when they realize this fact ? 

Tell the class that the title " Team Work " has been sug- 
gested for this poem and ask their opinion of it. Use the ques- 
tions at the end of the selection for summary and word study. 

Have the poem read two or three times by good readers and 
then let the class see how much of it they can repeat, referring 
to their books when necessary. Where the children have dif- 
ficulty in remembering, repeat questions which call for the exact 
language of the poem. Repeat the several drills until the poem 
is memorized and review it frequently. 

For biographical sketch, see page 154, Manual. 

See paragraph 9, page 68, Manual. 

SECTION V — INDIAN TALES 

The children will become interested by glancing through this 
section and noticing the pictures and the titles of the selections. 
Ask how many of them like Indian stories, and what stories 
about Indians they have read. Let the class turn to the intro- 
ductory paragraph, page 175, and have it read orally by a good 
reader. Arouse further interest by questions : What are some 
of the attractive things about Indian life mentioned in this 
paragraph? What is said about the relation of the Indian to 
our pioneer ancestors? Read the last sentence of the para- 
graph. Are you anxious to read these stories ? 

THE INDIAN'S DREAM (p. 177) 

This selection is to be read silently. Test the class's grasp of 
the content by questions : What does the first paragraph tell 



INDIAN TALES 187 

you? When did the Indian have this dream? Which para- 
graph tells about it? Describe the dream in your own words. 
Why did it make the Indian sad? How was the dream ful- 
filled ? What is meant by the following : Big Sea Water, great 
white-winged canoe, Great Spirit, from the rising to the setting 
sun? How did the white man get his first "small seat"? 
His second ? His third ? What finally happened ? Tell in one 
sentence the meaning of " Each time it took a larger skin for 
him to sit upon " and of the last paragraph. 

If the children know the tale of the camel and the Arab this 
story may remind them of it; if not, tell it to them briefly. 
They may also be interested in knowing that the story of the 
skin which is made to cover so many acres by being cut into 
strips is a very old one, told by the Greeks and Romans thou- 
sands of years ago. 

Pronounce with the children : canoe, buffalo. 

AN INDIAN CAMP (p. 179) 

This story is to be read silently. The class should be able to 
finish it in a little less than three minutes. 

Introduce the lesson by having the class look at the picture. 
Explain that this Indian camp in the northwestern part of the 
United States was visited in 1845 by Parkman, the writer of 
this account. Suggest the interest of a visit to such a camp 
and have the children try as they read to visualize the scenes 
described. 

The questions on page 181 furnish material for study. Pro- 
nounce with the class : disorderly, squaws, skeletons, barbaric, 
adjacent, partially, perspiration. Give drill also on the words 
suggested on page 181 and on any other words for which the 
class may ask. 

This selection is suited to illustration by original drawings, 
booklets, or posters. 



i88 FIFTH YEAR 

Biographical note. — Francis Parkman (i 823-1 893) was born 
in Boston. He planned from early in his college life at Harvard 
to write a history of the French and Indian wars and two years after 
he graduated he took the trip west which he describes in The Oregon 
Trail. While on this journey he hunted buffalo, had exciting adven- 
tures with Indians, and finally returned with his health permanently 
injured by the hardships he had undergone. In spite of illness, 
however, he worked with the greatest fortitude and enthusiasm, 
visited most of the places he described, and studied the life of 
Indian tribes and pioneer communities at first hand. 

His histories tell the story of the early French explorers, of the 
heroic Jesuit missionaries, of La Salle's explorations in the West, 
of life in French Canada in the seventeenth century, of the energetic 
government of Count Frontenac, of the French and Indian wars 
with their culmination in the struggle between Wolfe and Mont- 
calm for Quebec, and of the last hopeless attempt of Pontiac to form 
an Indian confederation. 

His style is always clear and interesting, his details are accurate, 
and his story well told. His accounts of life in the open and of 
Indian customs have the vividness and picturesque force that belong 
to the impressions of an eyewitness. Another selection from Park- 
man in Story Hour Readings is " Wolfe's Last Battle," Eighth Year, 
page 274. 

THE SLAYER OF THE SPOTTED CALF (p. 182) 

This selection is to be read orally, with special attention to 
its picturesque and dramatic qualities. 

Questions like the following may introduce the reading : 
What animals do you see in the picture? What animal's calf, 
do you think, is meant in the title? What color are buffalo 
calves usually? 

Have the class read the story silently and make a list of any 
words they cannot pronounce or explain. Give drill on the fol- 
lowing : Katit (kat'it), whinnied, dismounted, Tirawa (tir- 
a'wa), loo-ah', pursuit, urarish (ur-d-rish'), prowess, wretched. 



INDIAN TALES 189 

Call the children's attention to the parts of this story which 
present pictures. Let them make a list of these, trying to vis- 
ualize each. When the story is read aloud, encourage the 
readers to attempt to make the pictures in the story clear to 
their listeners. The questions at the end of the lesson suggest 
further points that should be brought up in this discussion pre- 
paratory to oral reading. Have the class tell (a) why Katit 
was so sorry for the horse, (b) why he refused to give the skin to 
the brave, (c) why he did not demand the chief's daughter. Let 
them decide (a) what sort of boy Katit was, and (b) whether or 
not they like the story, giving a reason for each decision. 

Close the lesson by having the story read aloud. 

For biographical note, see page 82, Manual. 

THE BUILDING OF THE CANOE (p. 187) 

This poem is to be read orally. The study should call at- 
tention to the poetical value of the selection and should awaken 
interest in Longfellow's Hiawatha. 

Longfellow's name is by this time familiar to the class. Have 
them recall other poems of his that they have read. Let them 
turn back to the picture on page 176 and discuss the materials 
these Indians are using for their canoe. Explain that this de- 
scription of the building of a canoe is part of a longer poem called 
Hiawatha which tells the story of an Indian hero, many parts 
of which they will enjoy reading. 

Read the poem to the class and have them read aloud the 
lines which answer each of the following questions : What did 
Hiawatha ask of (a) the birch tree, (b) the cedar, (c) the tama- 
rack, or larch, (d) the fir tree, (e) the hedgehog? How did each 
of these feel about Hiawatha's request? What reply did each 
make? What material did he get from each and what use 
was made of it ? How - is the canoe described in the last 
stanza ? 



i 9 o FIFTH YEAR 

The suggestions on page 190, supply additional study mate- 
rial. Find out how many of the class know by sight the trees 
mentioned ; have pictures of them if possible ; and let the class 
make illustrative sketches of those they know. Have a pic- 
ture of the hedgehog. Some of the children have probably 
seen articles made by the Indians from dyed quills. 

Pronounce with the class: Cheemaun (chee-mawn') , pliant, 
balsam, resin, fissure, crevice. 

Close the lesson with oral reading of the poem by good readers. 
Familiarize the class with Hiawatha by reading other parts of 
the poem to the class or by having children prepare selections 
from it for the morning exercises. 

"Hiawatha's Childhood," "Hiawatha's Fasting," "Hia- 
watha's Friends," "Hiawatha's Sailing " (from which this ex- 
tract is taken), "Hiawatha's Fishing," and "The White 
Man's Foot " are suggested for this purpose. 

For biographical note, see page 98, Manual. 

AMONG THE INDIANS (p. 191) 

This account of life among the Indians is to be read silently 
in order to make a written outline as suggested in the notes on 
page 198. 

Have the class read the story and then make their outlines. 
Compare these, select the best headings, and write them on the 
blackboard. The following outline is suggested : 

1. Description of the Indians of to-day. 

2. Number and distribution of Indians in 1492. 

3. The crowding of the Indians to the West. 

4. Different kinds of Indians. 

5. The Indian of to-day not warlike. 

6. Indian children. 

7. Indian towns and houses. 

8. Industries of the Pueblo and Navajo Indians. 

9. The Indian territory. 



INDIAN TALES 191 

10. Our government and the Indians. 

11. Indian schools. 

Have the children discuss these topics as suggested on page 
198. Call attention to the pictures of Indian weapons on page 
198 and have the class discuss what they are made of, at what 
period the Indians used them, and how they are made. 

The class may be familiar with books by the author of this 
selection ; they will be interested in naming any that they know. 

Biographical note. — Frank G. Carpenter (1855- ) is an Amer- 
ican traveler and writer who has investigated social, commercial, 
and industrial conditions in many parts of the world. His books 
contain much interesting information about people and places. In 
connection with work in geography the class may have read How 
the World is Clothed, How the World is Fed, How the World is Housed, 
and Carpenter's North America, South America, Europe, Asia, etc. 
Other selections in Story Hour Readings by this author are " Brothers 
of the World," Sixth Year, page 139, and "Pioneer Houses," Sixth 
Year, page 148. 

KWAHU AND KWEWE (p. 199) 

This story is to be studied for retelling to a lower grade. 

Pronounce the name of the selection for the class and tell them 
that it is an Indian legend. Have them recall other Indian 
legends that they read in the Fourth Yearbook. (" The Com- 
ing of Seegwun," " Glooscap and the Frog Chief," " Greedy 
Fawn and the Porridge.") If they do not remember any of 
these well enough to tell them or if they have not had Story 
Hour Readings, Fourth Year, ask the Fourth Year teacher to 
send some good readers to read these legends to your class. 
They, in return, should later tell this legend to the Fourth 
Year class. 

The first step in preparing to retell the story is to have the 
class re-read the story silently and break it up into sections, 



iq 2 FIFTH YEAR 

according to thought groups. The children may invent titles 
for each section. 

The following division is suggested as a good one : 

i. To line 13, page 199. (His father talks to Kwahu.) 

2. To line 25, page 200. (Kwahu goes out with the hunters.) 

3. To line 5, page 202. (Kwahu kills Kwewe.) 

4. To the end. (A surprising end to the adventure.) 

A second step is to have the children select from the story 
words, phrases, or sentences that they want to be sure to use 
in telling it. Have these expressions placed on the blackboard, 
and let a pupil read the sentence or paragraph in which each 
is found. The following selection is a good one : 

Section 1 — Eleven summers . . . Earth Mother. 

Section 2 — Down the narrow canon . . . ; past the scattered 
open spaces . . . ; over a stretch of desert shimmering in the sun ; 
across the plain and on to the woods beyond ; startled. 

Section 3 — trudged sturdily ; gurgling of a streamlet ; whis- 
pering of the leaves ; trembled ; muscles tightened ; dashed ; 
bristling ; frothing ; yellow fangs ; snarled terribly ; ferocious ; 
whizzed; piercing. 

Section 4 — " My son, you have done well ! " ; " The small arrow 
killed " ; proudly. 

The third necessary step is to get the background and moti- 
vation of the story clear in the children's minds so that they may 
give it color and may know what points to emphasize. Use the 
following questions in addition to those on page 202 : What 
sort of weapons and tools did these Indians use? What place 
in the tribe did Kokop hold ? How old was Kwahu ? Why was 
this hunt especially important to him? Who do you think 
Acmo was? What was Kwewe? Why did Kwahu especially 
want to kill him? What animal did the hunters first kill? 
How did Kwahu get separated from the hunters? How did 
he find his way alone ? What did the sound of the broken twig 



INDIAN TALES 193 

tell him? Why? How did he meet the wolf ? What had the 
hunters done? Why? What wolf had Kwahu killed ? 

Have each thought group told several times and let the class 
select the one who tells it best to tell that part of the story to 
the Fourth Year class. When the four pupils have been selected 
have each of them tell his part of the story to his classmates 
before repeating it to the lower grade. 

Biographical note. — George Moran is a traveler, a journalist, and a 
New York business man. His writings on the Hopi Indians are 
based on first-hand study of this Southwestern tribe. 

THE GIFT OF MONDAMIN (p. 203) 

This story is to be read silently and studied as an example of 
the type of legend which explains the origin of something 
useful. 

Tell the class that this is another Indian legend and have 
them read the story silently. When they have finished, ask 
them to rename it, giving it a title which will show that they 
know what the gift was. Questions and suggestions like the 
following will help the class appreciate the meaning of this 
legend : When and where did these events take place ? How 
was Living Statue unlike the rest of his people? Find the 
Manitoulins on a map of the Great Lakes. Why did Living 
Statue continue to stay there after his tribe had gone away? 
Describe his life on the island and his meeting with the little 
man. What strange directions did the little man give to Liv- 
ing Statue before they began to wrestle? What was strange 
about the struggle, and what was surprising about its end? 
What further strange directions did the little man give ? What 
do you think they mean ? What did Living Statue do ? -What 
did he find the first time he returned? Describe the scene in 
the Moon of the Falling Leaf. What month is this? Answer 
the questions on page 205. Why was the gift of Mondamin so 

S.H.R. MAN. 4-5-6 — 13 



194 FIFTH YEAR 

important to the Indians? Is it of any importance to us to- 
day ? 

Tell the class, as a comment on the last question, that the 
value of the corn crop in the United States is greater than that 
of any other crop and is also greater than the combined value 
of all the gold, silver, and other metals. A further interesting 
addition to the study of this lesson will be for the teacher to 
read aloud parts of " Hiawatha's Fasting," which is a slightly 
different version of this story. Tell the class that nearly all 
primitive people have stories of heroes who, instead of great 
deeds in war, brought useful gifts to their people. They should 
be on the watch for other stories of this sort in their supplemen- 
tary reading. 

Pronounce with the class : Mondamin, Iroquois, Manitou, 
Manitoulins, wrestle, pumpkin. 

For biographical sketch see page 82, Manual. 

THE FLIGHT ACROSS THE LAKE (p. 206) 

This selection is to be read silently. It will furnish material 
for two lessons ; the first for silent reading with appreciation of 
the historical background, the second for study of the narra- 
tive itself. 

I. Begin with a brief talk about the French and Indian War, 
bringing out the fact that the Indians in Canada fought on the 
side of the French, whereas the Iroquois of New York remained 
neutral or were friendly to the British. Use a map to show how 
easily the French and Indians could swoop down through 
Lake Champlain and Lake George into New York. Bring out 
the fact that the flight this story describes was across Lake 
George. Read the explanatory note to the class, and then have 
them read the story silently to see what happened. They should 
be able to finish the silent reading in about twenty minutes. 
Close the first lesson with the completion of the silent reading. 



INDIAN TALES 195 

II. Let the class try to tell from memory what happened in 
this flight across the lake. 

The answers will probably be somewhat vague, and the 
selection should be re-read a paragraph at a time, and the main 
facts of each paragraph given orally. Spend some time on the 
pronunciation of the difficult words ; but spend more time ask- 
ing the pupils to substitute for each a word or words having the 
same meaning. Words that may be dealt with in this way are 
" salutation," " significant gesture," " extraordinary precau- 
tion," etc. Pronounce with the class : treacherous, moccasin, 
Oneida, deviated, tomahawks, marquis, knaves, Chingach- 
gook (chin-gach'gobk) , warily, sagamore, sagacity, astray, 
gantlet, whoop, placid, unison, requisite, apathy, obliquely, 
prodigious, gestures, Mohicans. After completing the story 
ask if the class is satisfied to have the story end here or is 
there something more they wish to know. Refer them to 
the biographical sketch on page 220 for further information. 

It may be necessary to explain in answer to a question that 
the reference in lines 10 and 11, page 208, is to an Indian be- 
longing to a tribe friendly to the British whom Uncas had killed 
just before this selection begins ; although his tribe were allies 
of the slayer, Indian custom would require them to avenge 
his death. The " error " of Montcalm was that he had allowed 
his Indian allies to get out of control and attack the British 
troops who had just surrendered Fort William Henry. It was 
in the confusion of the attack that Cora and Alice Munro were 
carried off. 

Have the class answer the questions on page 220 and others 
that will serve to make the story more vivid : What were some 
of Hawkeye's methods of hiding his trail? Why was he so 
anxious to get away unobserved? Why did the danger the 
party was in seem less to Hawkeye than to Hey ward ? How did 
Chingachgook discover that there was some one on the island? 
Why did Hawkeye and Hey ward think differently about taking 



196 FIFTH YEAR 

shelter under fire? How did they finally get away from the 
Indians? What incident is illustrated in the picture on page 
214? Do you like this story? Give reasons for your answer. 
Would you like to have lived at this period of our history? 
Why or why not ? 

Biographical note. — James Fenimore Cooper (1789-1851) was 
born in Burlington, New Jersey. He was brought up, however, in 
the frontier settlement of Cooperstown, which his family founded 
on the very edge of the forest. There were few other settlements 
near, and stories of hunting feats, adventures with Indians, and the 
mysteries of the great forest were familiar to him as a boy. Cooper 
entered Yale when he was thirteen years old, but he did not fit well 
into college life and left without graduating. He then decided to go 
into the navy and began with a year in the merchant marine, after 
which he became a midshipman. In 181 1 he resigned from the 
navy and married. 

Cooper did not begin to write until he was thirty years old, but 
after he found his proper field, the romance of the American pioneer, 
he made writing his profession and soon became almost equally popular 
in Europe and in America. His five famous stories in which Natty 
Bumppo figures have fascinating pictures of pioneer life and adventures 
in the wilderness. His stories of the sea rank next to his stories of 
the forest. He is often compared to the great novelist of chivalry, 
Sir Walter Scott. " At the Helm, " Sixth Year, page 81, is an extract 
from Cooper's best sea story, The Pilot. 

SECTION VI — IN A MERRY MOOD 

The pupils should glance rapidly through this section, look- 
ing at the titles and the pictures, and then read the introductory 
stanza on page 221 and give the thought in their own words. 
The class may be divided into groups, each to prepare a poem to 
read to the class. These groups should make use of the study 
material accompanying the selections and of additional matter 
supplied by the teacher. 



IN A MERRY MOOD 197 

Biographical note. — Ella Wheeler Wilcox (185 5- 191 9) was an 
American writer of verse, born in Wisconsin. She was for many 
years a contributor to newspapers in New York and Chicago. 

THE CIRCUS-DAY PARADE (p. 223) 

This poem is to be prepared as suggested in the introduction 
to this section (page 196, Manual). The following suggestions 
should be given to the group who prepare it : Have the children 
look at the pictures for this story and find in them the various 
things and people mentioned in the poem. The keynote to the 
whole poem is in the last two lines of the first stanza — every- 
body in it is keeping time with the music like the boys in the 
picture. The class should notice how the verse itself suggests 
brisk rhythmical motion. Let some good reader read it aloud 
and have the listeners try to see each fantastic figure as it passes. 

Words to be pronounced : tenor, capers, plaudits, tattoo. 

Biographical note. — James Whitcomb Riley (1853-1916) was 
born in Greenfield, Indiana. He began contributing poems to local 
papers and became a very popular poet. Much of his verse is written 
in the dialect of the part of the country with which he was most 
familiar. His poems for and about children are among his best. 
The class may know and like " The Raggedy Man " and " Little 
Orphant Annie." " The Prayer Perfect," Seventh Year, page 217 is 
by Riley. One of his letters is on page 134, Eighth Year. 

THE BLIND MEN AND THE ELEPHANT (p. 225) 

This selection is to be prepared as suggested in the introduc- 
tion to this section (page 196, Manual). Point out to the group 
who prepare it that the note on page 227 gives the key to the 
humor of this poem. Suggest that if instead of quarreling the 
blind men had put the results of their observation together 
they might have got a better idea of the elephant, though even 
then not a very complete one. 

For biographical sketch see page 178, Manual. 



ig8 FIFTH YEAR 

THE WIND AND THE MOON (p. 228) 

This selection is to be prepared by a group of the class as 
suggested in the introduction to this section (see page 196, 
Manual). 

The following questions, with those on page 230, may help 
the class to appreciate the poem : Why did the Wind dislike 
the Moon? What had happened to the Moon the first time 
she disappeared? Had the Wind anything to do with it? 
What happened while the Wind was asleep? What was so 
encouraging to the Wind when he next tried to blow out the 
Moon ? How did the Wind celebrate his success ? What hap- 
pened next? What did the W 7 ind do? How did he explain 
what finally happened ? What did the Moon think about it all ? 

Biographical note. — George Macdonald (1824-1905) was a Scot- 
tish novelist, a member of a family famous in Highland history and 
legend. He began his career as a clergyman but his health broke 
down and he tried literature instead. His works include novels and 
romances and some excellent stories and verse for children. " The 
Princess' Escape from the Goblins," Sixth Year, page 223, is by this 
author. 

CALLING A BOY IN THE MORNING (p. 231) 

This selection is to be read first silently and then orally. 

After the class have read it silently, let them express and de- 
fend their opinions on the following questions : Is this selection 
humorous? Is the humor in what happens or in the way the 
story is told ? 

After the discussion let some one volunteer to read the se- 
lection aloud in a way that will bring out its humor. 

Pronounce with the class : insinuatingly, signifies, ejects. 

Biographical note. — James Montgomery Bailey (1841-1894) was 
the owner of a newspaper, the Danbury News. The short humor- 
ous articles which he wrote for it were widely reprinted. 



IN A MERRY MOOD 199 

THE WALRUS AND THE CARPENTER (p. 232) 

This selection is to be prepared for oral reading by a group 
of the class, following the plan indicated on page 196, Manual. 

If Through the Looking-Glass is accessible, suggest to the leader 
of the group that they include in their reading Alice's comments 
on this poem and the answers she received. The class should 
notice, as Alice did, the differences in disposition between the 
Walrus and the Carpenter. 

As suggested on page 236, have the children point out the 
nonsense passages — the serious way in which these absurd 
things are set down is what makes them funny. The stanza 
beginning " The time has come," is almost a classic summing up 
of a ready-made conversation. 

Pronounce with the class : briny, frothy. 

For biographical sketch see page 125, Manual. 

THE MAD RIDERS (p. 237) 

This selection is to be prepared in the same way as the pre- 
vious one. The note on page 239 gives the key to the humor 
of this poem. Like " The Walrus and the Carpenter," much 
of its absurdity comes from the fact that it sounds perfectly 
serious. The children should see that it has the piquant qual- 
ity of a game in which you try to say funny things without 
smiling. 

Pronounce with the class : aptly, delusion. 

For biographical sketch see page 123, Manual. 

QUICK SERVICE (p. 239) 

This selection is to be read silently and told as an anecdote 
for practice in " telling a good story." Impress on the chil- 
dren that their retelling must bring out the humorous turn in 
the story, which makes it funny — its point. Interest them in 



200 FIFTH YEAR 

trying to tell it so well that they will want to tell it at home 
after school. 

Pronounce with the class: withering, bombardment, res- 
taurant, comment. 

THE HEIGHT OF THE RIDICULOUS (p. 240) 

This selection is to be prepared by a group of the class for 
reading aloud, as suggested on page 196, Manual. The follow- 
ing additional suggestions may aid appreciation : Re-read the 
first four stanzas silently and notice that each has its ridicu- 
lous touch. The actual humorous incident begins in the fifth 
stanza : retell it briefly. Why is it funny ? Why do you think 
the little boy worried about it ? What is funny about Holmes's 
letter? 

Pronounce with the class : wondrous, albeit, trifling. 

Biographical note. — Oliver Wendell Holmes (1 809-1 894) was 
born in Cambridge, Massachusetts, and educated at Harvard. He 
studied medicine in Paris and was for thirty-five years professor of 
anatomy at the Harvard Medical School. Holmes was an especially 
clever talker and lecturer and his humorous verses are among his 
best. " The Deacon's Masterpiece or The Wonderful ' One-Hoss 
Shay,' " Seventh Year, page 286, is an excellent example. Other 
good poems by Holmes are " The Last Leaf," a mixture of serious 
and humorous feeling ; " Old Ironsides," Sixth Year, page 388, 
a stirring poem, written to save the old battleship Constitution from 
being destroyed; "The Chambered Nautilus," Eighth Year, page 
406, a fine poem in a serious vein ; " Grandmother's Story of Bunker- 
Hill Battle," a vigorous ballad ; and " The Flower of Liberty," Seventh 
Year, page 348. 

Besides his poems, Holmes was the author of very delightful prose. 
His The Autocrat of the Breakfast Table began with the first number 
of the Atlantic Monthly, of which Lowell was then editor. These 
humorously philosophic papers were supposed to give the breakfast 
table conversation and discussion of a typical Boston boarding house. 



IN A MERRY MOOD 201 

NEW ENGLAND WEATHER (p. 242) 

This selection is to be read orally by the teacher, then studied 
paragraph by paragraph, with oral reading by the class. 

Introduce the selection by bringing out the fact that in New 
England, as in some other sections of our country, the weather 
is very uncertain. Mark Twain sees the humorous side of these 
sudden, unexpected changes. Read the selection to the class, 
bringing out as much of the humor as possible. 

Pronounce with the class : reverently, apprentices, sumptu- 
ous, Centennial, astounded, foreigners, specimens, casual, perma- 
nently, accurate, prophecy, Wisconsin, barometer, drought, 
baton, disproportioned, perversity, foliage, compensates, va- 
garies, Shah, acme, intoxicating, foibles. 

Comments and suggestions like these will assist appreciation : 

Read the first paragraph. Do you think the author really 
means this? To whom is he referring when he speaks of the 
Maker? Why does he think that God does not make the 
weather ? 

Read aloud the paragraphs that answer some of the follow- 
ing questions : Who, according to Mark Twain, makes the 
weather for New England? What is said about its variety? 
In what season does the New England weather do most busi- 
ness? What marvelous story is told of the man who collected 
weather? What happens to spring poets in New England? 
Who are these poets as a rule? 

" Old Probabilities " refers to the head of the weather bureau. 
No doubt you have noticed the weather forecast each day in 
your daily paper. Is it usually right? When Mark Twain 
wrote this selection, the weather bureau was in its infancy and 
the weather predictions were not as accurate as they are nowa- 
days. What is said about " Old Probabilities "? What does 
he do when he comes to forecast the weather of New England? 
Is there any possible variation that he leaves out? What is 



202 FIFTH YEAR 

there humorous about this prediction? What does he do to 
cover any possible change that he has not mentioned? What 
is the only certain thing about New England weather? Give 
some of Mark Twain's illustrations of this uncertainty. What 
does he say about New England lightning and thunder and their 
effect on strangers? One of Mark Twain's characteristics 
was to exaggerate things out of all proportion. This is what 
makes them so funny. What examples of this characteristic 
have you found on this page ? Do you agree with his statement 
that lightning is convincing? Explain. 

What is said about the size of the weather in New England ? 
About its perversity, or contrariness ? What compensation, or 
pay, do the natives get for all these vagaries, or freaks, of the 
weather ? Read to the class the sentence or paragraph in this 
selection that seems to you most humorous. The suggestions 
and questions on page 247 furnish further suggestions for study. 

Biographical note. — Mark Twain was the pen name of Samuel 
L. Clemens (1835-1910). When he was twelve years old his father 
died and he left school and learned the printing trade. He worked 
for eight years as a printer and then became a pilot on the Mississippi 
River. His next experience was in the West, and in 1867 he went 
on a trip through Europe, Egypt, and Palestine. After his return 
to America and his subsequent success as a writer he lived mostly in 
New England, for many years at Hartford, Connecticut. 

The Adventures of Tom Sawyer and Huckleberry Finn, two stories 
with boys as their leading characters, give a picture of life in a Missis- 
sippi river town and on the river itself; Life on the Mississippi 
contains a fine account of Mark Twain's experience as a pilot ; Rough- 
ing It describes with characteristic humor life in the Far West during 
the 1860's ; Innocents Abroad is his best-known book of travel. 

The name " Mark Twain " is a reminder of Clemens's Mississippi 
days ; it is the leadsman's signal for two fathoms of water. Other 
selections by Mark Twain in Story Hour Readings are " The Stage 
Coach," Seventh Year, page 253, and " The Lightning Pilot," Eighth 
Year, page 137. 



OUT OF DOORS 203 

SKIING (p. 247) 

This selection is to be read silently as an example of humorous 
description. 

The class may need to be told that skiing is a popular sport 
in many mountainous regions and that the ski is a long wooden 
runner which is attached to the foot. Make use of questions 
and suggestions like the following : Can you imagine what hap- 
pens when people first attempt to wear skis? This selection 
describes in a humorous way the first attempts at skiing. Read 
it silently. Read aloud any part that strikes you as being 
funny. What are some of the difficulties of skiing? What is 
ski-joring ? Why does one learn to ski uphill instead of down ? 

The class may be able to find pictures of ski jumpers. These 
will give point to the humor of the selection. 

Pronounce with the class : exaggerated, Jerusalem, Jericho, 
pedal, embarrassingly, ski-joring, arbitrary, domineer, forcibly. 

Biographical note. — John B. Foster is a resident of the city of 
New York. This extract is from a newspaper article which appeared 
in The Sun, New York. 

See paragraph 9, page 68, Manual. 

SECTION VII — OUT OF DOORS 

Call the attention of the class to the title of this section and 
have them glance rapidly through it, noticing the pictures and 
the names of the selections. Get the children to tell whether or 
not they like to be out of doors, and why. Have some good 
reader read the introductory stanza on page 249. Have the 
class state the reasons why the author of this stanza loved the 
Out-of -Doors. Pronounce with the class : grandeur, consciousness. 

RAIN IN SUMMER (p. 251) 
This selection is to be read orally, for appreciation of the as- 
pect of nature described. 



2o 4 FIFTH YEAR 

Introduce the lesson by a reference to the author. Have the 
class recall other poems of Longfellow's that they have 
read and some facts about his life. Assist appreciation by ask- 
ing them to recall a very hot sultry day in summer, when, after 
hours of almost unbearable heat, it began to rain. They should 
remember how they felt when the rain began, how the rain 
looked and sounded, what effect it produced. 

Call upon some good reader to read the poem aloud. Get 
this child to understand that he must make his audience hear 
and see and feel the beauty of the rain and the relief that it 
brought. After the reading have the class answer the questions 
on page 252. 

The expressive words in this poem supply good material for 
word study. Let each child select five words which he does 
not ordinarily use in conversation, use them in original sen- 
tences, put them in his word book, and try to use them in his 
talk during the next week. Pronounce with the class : fiery, 
fevered, turbulent, leopard. Let the children look for words 
in which sound and sense are alike. 

For biographical sketch see page 98, Manual. 

THE SWARMING OF THE BEES (p. 253) 

This selection is to be used as a test. For detailed directions 
for giving tests, see pages 13-17, Manual. 

Arouse interest by calling attention to the title and by fur- 
ther questions : How many of you have ever seen bees swarm ? 
This story will tell you why they swarm and what the owner of 
the bees does when they do. 

At the signal have the children uncover the page and read 
as rapidly as they can without missing the thought. Call 
time at the end of two minutes, have the last word read marked, 
and then have the children complete the story as quickly as 
possible. The rate will be one half of the number of words 



OUT OF DOORS 205 

read in two minutes. Test the class's knowledge of the con- 
tent by having them answer the following questions : 

1. How do the bees find a new home? 

2. Why do bees swarm? 

3. What do the bees who are to go with the queen do before leaving 
the hive? 

4. How were the bees removed from the apple tree? 

5. What did Ned's father do? 

After the answers to the test questions have been written, 
the number of words counted, and the marks erased from the 
books, have the children read and answer orally the questions 
on page 257. The class may like to hear read the famous de- 
scription of the bees in Shakespeare's King Henry V, Act I, 
scene 2. 

Pronounce with the class : pollen, fliers, furious. 

GRAYWINGS (p. 258) 

This story is to be read orally for the narrative and to awaken 
interest in bird life. 

The title of the story will set children wondering. Follow 
up their interest with conversation and questions like these : 
What was Graywings ? Have you ever happened to see a flock 
of wild geese? At what time of year would you see them? 
Wild geese and ducks migrate to the northern woods of Canada 
each spring. They nest there and then return south in the fall. 
While they are migrating they stop at our lakes and rivers to 
feed, and many are shot by hunters. Let us read this story and 
find out what happened to Graywings. 

Have the story read orally without further preparation. 

After the reading ask the class to make an outline of the 
story. The questions on page 261 will stimulate discussion 
and possibly call out other stories like this one. Relate this 
story to the previous one by questions like the following: 



2 o6 FIFTH YEAR 

What are sentries? What incident in this story makes you 
think that wild geese have a government of their own? Look 
at the picture on page 261 and notice how the geese fly. What 
other migratory birds do you know of ? Which birds come only 
in summer? Which only in winter? Which pass at spring 
and fall? 

Pronounce with the class : sentries, pining, terrified, revived, 
lingered. 

THE BROOK (p. 262) 

This selection is to be read orally, with appreciative study of 
the imagery. 

Introduce the lesson with an informal discussion of brooks: 
where we find them, their beginnings, why they are interest- 
ing, their length, and what finally becomes of them. Take 
an imaginary trip down a brook. Get the children to visual- 
ize the birds that live near the brook : the ferns, willows, and 
flowers on its banks ; the peaceful farms, the grassy lawns, and 
the little villages through which it passes; the music of the 
water as it passes over stones and ledges of rock ; the color of 
the water in sunlight or shade, in deep or shallow places ; and 
the occasional trout or grayling, the caddis worms, the water 
skippers, and other creatures that live in its waters. Read 
the poem to the children, bringing out the music and the pic- 
tures. Then have it read stanza by stanza, each child who 
reads describing the picture which he sees. Several words in 
this poem are likely to be somewhat unfamiliar to children. 
Dispose of them quickly by giving the synonym : 

coot — A water bird something like a duck. 

hern — Heron, a long-legged bird, like a crane. 

sally — An unexpected rush forward. 

bicker — To be noisy or quarrelsome. 

thorp — A village. 

sharps and trebles — High, clear musical notes. 



OUT OF DOORS 207 

foreland — A cape or headland, 
mallow — A common wild flower, 
shingly bars — Banks of gravel. 

cresses — A pungent plant used for salads, which grows in running 
water. 

Let each child select the stanza that he likes best and read 
it to the class, telling, if he can, why he likes it. The sugges- 
tions on page 264 give further study helps. Suggest that the 
class collect pictures of brooks and make a class poster. The 
class should notice who is the author of this poem, and recall 
other poems of his that they have read and facts about his life. 
Close with a reading of the poem by a good reader. 

For biographical sketch see page 129, Manual. 

OUR FRIEND THE DOG (p. 265) 

This selection is to be read silently, for its narrative. The 
reading should take about five minutes. 

Awaken interest in the story by having the class look at the 
picture on page 270 and guess at the incident it illustrates. 
After the story has been read, make use of the questions and 
suggestions on page 270. Ask the class what quality they 
think most remarkable in each of these dogs. 

Pronounce with the class the following words and any others 
for which they ask : prairie, frolic, numb. 

EULOGY ON THE DOG (p. 271) 

This selection is to be memorized ; for general discussion of 
memorization see pages 47-51, Manual. 

Introduce the study by questions like these : What is the 
title of this selection? A eulogy is a speech of praise or com- 
mendation ; what services have dogs rendered that entitle 
them to a eulogy? Why does the writer of this eulogy begin 
it as he does? (See the note on page 272.) 



208 FIFTH YEAR 

Familiarize the class with the text and the thought sequence 
by study conducted as follows : Have the class read in order 
the sentences of a paragraph, writing on the board the key words 
of each. Then take each key word in turn and ask the class to 
read what is said about it, having them read the entire sentence 
in answer. After this study, have the paragraph as a whole 
re-read orally. The following key words are suggested : 

Paragraph I 

i. Friend . . . enemy 

2. son or daughter . . . ungrateful 

3. nearest and dearest . . . traitors 

4. money . . . lose 

5. flies . . . needs it most 

6. reputation . . . ill-considered action 

7. people . . . honor . . . success • . • malice . . . failure 

8. absolutely unselfish friend . . . never deserts . . . ungrateful 
or treacherous 

Paragraph II 

1. prosperity and poverty . . . health and sickness 

2. sleep . . . wintry winds . . . snow drives fiercely 

3. kiss . . . lick . . . roughness 



4. guards . . . 


pauper . . . 


. prince 


Paragraph III 






1. desert . . . 


remains 




2. riches . . . 


reputation . 


. . constant 


3. fortune . . 


. outcast . . 


. privilege . . . accompanying 


guard . . . fight 






4. last scene 


. . . pursue 


. . . alert watchfulness ... fa 


and true 







faithful 



Make clear to the class that a eulogy is meant to be spoken, 
and suggest that they try to read this one as they would speak 
it if they were eulogizing a dog that was a real friend. 

After several readings have the class see how much they car 
repeat, and continue the study in the usual way. 



OUT OF DOORS 209 

Pronounce with the class : eulogy, jury, traitors, reputation, 
sacrificed, pauper. 

Biographical note. — George Graham Vest (1 830-1904) was born 
in Frankfort, Kentucky. He practiced law for many years and as 
a member of the Senate was known as a speaker and debater. 

WRIGGLES (p. 273) 

This selection is to be read silently, for the information 
it contains. The reading should be completed in seven 
minutes. 

After the selection has been read, test the class on the content : 
What have you learned from this story? Where did Wriggles 
spend the winter? What did she do in the spring? In the 
picture on page 273, which picture shows the eggs that Wriggles 
laid? What came out of the eggs when they hatched? How 
long did it take the little wrigglers to become mosquitoes? 
What did these mosquitoes in turn do? Do you think they 
did anything else? Did the mosquito bites have anything to 
do with the children's malaria ? Describe life in the pond on 
a summer day. What were some of the creatures who ate 
mosquitoes and wrigglers? What two kind. of wrigglers did 
Sammy discover in the rain barrel? How did Sammy get rid 
of the mosquitoes? 

The questions at the end of the selection supply material for 
further work, which may be correlated with nature study and 
civics, to lead up to the next lesson. Allow the class to read 
this story a second time if they wish. 

Pronounce with the class : dingy, mosquito, soot, malaria, 
temperatures, quinine, Culex, kerosene. 

Biographical note. — Edwin Arthur Turner was connected with 
an Illinois State Normal School when he wrote the nature-study 
reader from which this extract is taken. 

S.H.R. MAN. 4-5-6 — 14 



2io FIFTH YEAR 

A BIG PROJECT (p. 280) 

This selection is to be read silently for the information it 
contains ; it may be correlated with the previous lesson and with 
work in history and geography. The reading should occupy 
no more than two minutes. 

Introduce the reading by telling the children that mosquitoes 
like those they have been reading about delayed for years the 
carrying out of one of the world's great engineering projects. 
After the reading the children should be able to tell clearly what 
the project was and how the mosquitoes delayed it. 

The questions on page 281 and the paragraph on General 
Gorgas give opportunity for interesting correlation with history 
and geography. 

Pronounce with the class : Isthmus of Panama, engineers, 
scheme, project, assigned, sewage, hovels, epidemics, route. 

MERRY AUTUMN (p. 282) 

This selection is to be read orally for its picture of autumn 
and its interesting idea. 

Have the class with book closed discuss and describe autumn 
as it affects them — autumn weather, occupations, amusements, 
food, clothes, anticipations. Next let them think of the out- 
of-door world in autumn — colors, sounds, light, birds, animals, 
flowers, trees. When they have clarified their own impressions, 
tell them that many people think autumn a sad season ; that, 
for instance, William Cullen Bryant says, in " The Death of 
the Flowers," 

" The melancholy days have come, 
The saddest of the year," 

but that the author of these verses thinks of it as merry. 

Have the children read the poem without further preparation 
and answer the questions on page 283. Let each child select 
any stanza he likes and read it to the class, giving, if he can, a 



OUT OF DOORS 211 

reason for his selection. Help the children get the imagery and 
background of the poem by questions like these : To what 
creatures does the poet appeal to support his opinion? What 
plants and birds does he mention ? Do you know these plants ? 
What colors does he notice most in autumn? How does his 
picture of autumn differ from or resemble your own? What 
are the characteristic colors of autumn in our locality? Of 
spring? Of summer? Of winter? Which do you like best? 

Biographical note. — Paul Laurence Dunbar (1872-1906) was 
an American poet of negro descent. He was born in Dayton, Ohio, 
and graduated from the high school there. He worked as a news- 
paper writer in New York, and was, for a time, on the staff of the 
Congressional Library in Washington. His poems in negro dialect 
are his best works. 

JARRO, THE WILD DUCK (p. 284) 

In this selection the description of the lake (to line 17, page 
285) is to be used as a speed test. For general directions for 
giving tests, see pages 13-17, Manual. 

To awaken interest before beginning the test, have the class 
recall the story of Graywings. At the signal have them read 
for two minutes, marking the last word read, and then answer 
the following questions : 

1 . Why did the people drain Lake Takern ? 

2. What stick up in the lake above the surface of the water? 

3. How tall do the reeds grow around this lake? 

4. Of what value are the reeds ? 

5. What were the first birds to settle at Lake Takern? 

As a second lesson, have the whole story read silently for its 
narrative interest. The reading should take less than twenty 
minutes. This story is also adapted for oral reading. The 
class may enjoy preparing it to read at morning exercises or at 
a class-mothers' meeting. 



212 FIFTH YEAR 

The questions on page 300 will test the children's grasp of the 
content and help them to organize their impressions of the 
story. The following suggest additional points of interest: 
In what country is Lake Takern? How deep is the lake? 
What furnishes food for the wild ducks there ? Why is it such 
a good place for birds? What birds besides the ducks live 
there? Look at the picture on page 295 and tell in what ways 
a farm hand in Sweden dresses differently from one in America. 
Where did these wild ducks go in winter? What does 
" tabooed " mean? 

Pronounce with the class : fertile, islets, height, accessible, 
gnat, incredible, mirror, inquisitively, Caesar, jowls, lassitude, 
acquired, Clawina, unutterably, incite, extraordinary, acknowl- 
edge, halter, noose, scow, decoy, contemptuously, shallows, 
grievously, paralyzed, rescuer, entice, viciously. 

Biographical note. — Selma Lagerlof is a Swedish writer, born in 
1858. She was for ten years a teacher in a girls' high school, but 
gave up teaching for literary work. In 1909 she received the Nobel 
Prize in literature. 

The Wonderful Adventures of Nils was written at the request of the 
(Swedish) Association of Common School Teachers, who needed a 
book on Sweden for primary schools. The class will enjoy reading it. 

SECTION VIII — RED-LETTER DAYS 

Introduce the section by questions on the introductory para- 
graph : What are red-letter days? Read the introductory 
paragraph on page 301. What red-letter days do you have 
which are not in the calendar? Glance through this section 
and find out some of the red-letter days mentioned in it. 

To the teacher : The children should have calendars in 
their hands while they work out the answers to the ques- 
tions given above. This will serve to fix important dates 
in their memory. 



RED-LETTER DAYS 213 

THE BOY COLUMBUS (p. 303) 

This selection is to be read orally in connection with Columbus 
Day. 

To help the class get the thought sequence use questions and 
suggestions like the following : What red-letter day do we cele- 
brate in connection with Columbus? This poem represents 
a conversation between a boy and an older person, perhaps his 
father. Read aloud what the boy has to say. Of what cele- 
brated person is he speaking? What is the boy's complaint? 
Read the next stanza, which gives us the father's reply. What 
does the father admit? Does he agree that there is nothing 
left for the boy to find ? What does he say still remains to be 
done? What does he mean by electrical worlds? Mechanical 
worlds ? New worlds in science ? New worlds in art ? Name 
some of the great men who have already been discoverers in 
these worlds. Which do you think is right, the boy or his 
father? Is there anything worth while left for you to do? 
Think about this question. You need not answer it. 

Pronounce with the class : plead, prow, electrical, mechan- 
ical. 

IN FLANDERS FIELDS (p. 304) 

AMERICA'S ANSWER (p. 305) 

These two selections are to be studied together, for memo- 
rization. They may be used as part of a special program. 

Questions like the following will help the class to recall the 
background : Where is Flanders ? What does the name recall 
to you? How many of you are familiar with this poem? It 
is one of the finest poems of the World War and was written 
during his overseas service by an officer in a Canadian hospital 
unit. 

Read both poems aloud to the class, and ask them to visualize 
the picture of the first five lines of " In Flanders Fields." 



214 FIFTH YEAR 

They may need to be told that poppies are bright red flowers, 
which grow in the fields of France among the wheat. A few 
questions will give the clues necessary to intelligent appreciation : 
Who are speaking in this poem ? What lines tell you so ? For 
what purpose have the fields mentioned here been used ? Where 
are the poppies blooming? What sound drowns the singing 
of the larks above the fields ? What, to this poet, are the pleas- 
ant things in life ? What do these dead ask of the riving ? 
Explain lines n and 12. In what ways can the fellow country- 
men of these dead soldiers still break their faith with them? 
The poppy, from the juice of which opium is made, has been 
for many centuries the poet's symbol for sleep. What is the 
force of the word " though " in the last line of the poem? 
" America's Answer " was written in reply to " In Flanders 
Fields." How did America actually answer the appeal ? Read 
again the last three lines of " In Flanders Fields " and then 
read the whole of " America's Answer." 

Let the class answer the questions at the end of each selection, 
and ask any questions they wish about either poem. Suggest 
that as " In Flanders Fields " is a beautiful poem, occasioned 
by a great event, it would be worth while to memorize it. The 
study already given has made the thought sequence clear. 
If the class also memorize " .America's Answer," the two poems, 
recited by two pupils, will make an excellent number for a 
Memorial Day program. 

Biographical note. — John McCrae (1872 - 1918) was born in 
Guelph, Canada, and educated at the University of Toronto. When 
the World War broke out in 1914, he joined the First Brigade of 
Canadian Artillery and served as surgeon in the field and as officer 
in charge of a hospital in Boulogne until his death from pneumonia 
in 1918. "In Flanders Fields" was first published in Punch, 
London. 

R. W. Lillard's poem was first published in the New York Evening 
Post. 






RED-LETTER DAYS 215 

A HEBREW SONG OF THANKSGIVING (p. 306) 

This selection is to be read orally, with special attention to 
the rhythm. 

The class should recall another selection from the Bible which 
they have read recently. Explain to them why this psalm, or 
song, should be read aloud, and read it to them, trying to bring 
out its music and rhythm. 

The questions at the end of the selection will help the class 
to get the thought sequence clear in their minds. Questions 
like these, with the help of a map, will also be useful : In what 
sort of country did the ancient Hebrews live? What river 
flowed through it? W T hat great deserts were near their 
boundaries? What are the principal dangers to travelers in 
the desert? Read the parts of this song which refer to these. 
What was the chief city of ancient Palestine ? 

Have the selection re-read orally by several good readers. 

Pronounce with the class : endureth, solitary. 

A GOOD TIME (p. 307) 

This selection is to be read orally as a Thanksgiving selection. 

Let the children suggest some of the different ways of having 
a good time to which this title might refer. Then have them 
read the poem orally to find out what this " good time " was, 
and answer the following questions and those on page 30S : 
What Thanksgiving gifts were given? Were they all of equal 
value ? What was the same about them all ? 

Biographical note. — Marian Douglas was the pen name of Mrs. 
Annie Douglas Robinson, an American writer of verse for magazines 
and newspapers, born in Plymouth, New Hampshire, in 1842. 

LITTLE WOLFF AND HIS WOODEN SHOE (p. 309) 

This selection is to be read silently as a preparation for oral 
reading or for retelling. For this purpose the class must grasp 



216 FIFTH YEAR 

clearly the main thread of the narrative, the principal characters 
who figure in it, the background or atmosphere, and the main 
point to be brought out. 

Have the children read the story silently and answer first the 
questions on page 315 (for narrative and characters) and then 
the following : In the picture on page 313, what scene is illus- 
trated? In what country do you think Wolff lived? Why 
do you think so ? What do lines 1 2-14, page 309, tell you about 
Wolff's character ? In what ways was the school Wolff attended 
different from yours? What Christmas customs had they in 
Wolff's country that. are like those you know? What ones that 
are different? Judging from the picture on page 315, what do 
you think of their toys? What scene is illustrated in this 
picture? Why was the unkind aunt so amazed when she saw 
the toys? What has the quotation in lines 12-13, P a g e 315, to 
do with what had happened? Can you suggest another good 
name for this story? 

Pronounce with the class : monstrous, deceiving, inasmuch. 

Suggest to the children that this is a good story to read or 
tell to a lower grade or to use on a Christmas program. Divide 
the class into two groups and let one prepare the story to read 
and the other prepare it to tell. Those who read the story 
should divide it into thought groups, one child to read each. 
Those who tell it should also break it up into thought groups, 
one child telling each, and should select phrases which they 
wish to use in telling it. Leave the making of the divisions 
and the selection of the phrases entirely to the children. 

After hearing the reading and the telling, the class should 
decide which will be most enjoyed by an audience. 

Biographical note. — Frangois Coppee (1842-1908) was a French 
writer, born in Paris. He first became known as a poet and also 
wrote successful plays; his prose writings include short stories 
and novels. Coppee's work is full of patriotism and sentiment, and 
his sympathy and insight make him a popular writer. 



RED-LETTER DAYS 217 

SANTA CLAUS (p. 316) 

This selection is to be used for oral reading at Christmas time. 

Explain that this poem should be read in such a way as to 
make the hearers see Santa Claus as he comes. Then give the 
class a minute or two to glance through it, and call for volunteers 
to read. 

Have the class state clearly what special point about Santa 
Claus's coming is mentioned in each stanza. The questions and 
suggestions on page 317 provide interesting correlation with art 
and written work. 

In connection with this selection and the preceding one the 
class will like to read Eugene Field's " Jest 'fore Christmas," 
or Riley's "Little Johnts's Chris'mus." Suggest to the pupils 
that they bring to class the best short Christmas poem they 
can find. 

THE UNBROKEN SONG (p. 317) 

This poem is to be read orally during the Christmas season, 
or as part of a Longfellow program. 

Pronounce with the class : belfries, Christendom. 

Have the poem read orally by a good reader and then discuss 
it with the class, using questions and suggestions like these : 
What is the message of Christmas ? What are carols ? Make 
a list of those you know. 

The class should recognize Longfellow as a writer with whose 
name they are familiar, and should recall poems of his that 
they have read. Suggest that they ask the Fourth Year class 
to join with them in giving a Longfellow program of readings 
and recitations of the poems in the Fourth Year and Fifth Year 
books. Have them appoint a committee to report on the life 
of Longfellow, after consulting an encyclopedia or a history 
of literature. 

For biographical sketch, see page 98, Manual. 



218 FIFTH YEAR 

RING OUT, WILD BELLS (p. 318) 

This selection is to be memorized. See pages 47-51, Manual, 
for general directions. 

Introduce this lesson by calling attention to its author. The 
class should recall something about his life, and other poems 
of his that have been read in class. 

Read the poem to the class, bringing out the music and the 
recurring thought of progress toward better things which is the 
keynote ; then study for thought sequence and interpretation, 
stanza by stanza, using questions and suggestions like these: 
Bells are also associated with Christmas. For what are these 
bells ringing ? What are the bells to ring out in the first stanza ? 
In each remaining stanza, something is to be rung out and some- 
thing rung in. WTiat is it in each ? What words might you use 
in place of " saps," " feud," and " redress," in the third stanza? 
What does Tennyson mean by " ancient forms of party strife," 
in the fourth stanza ? By " false pride in place and blood " and 
"civic slander," in the sixth stanza? In the fifth stanza, 
" faithless coldness " does not mean " unfaithful," or " un- 
true," but " without faith." Why is this a good word to use 
with "coldness"? What is a minstrel? Why does this 
poet say his rimes are " mournful " ? What word could you use 
instead of " valiant " in the last stanza? Make two lists, 
one in Tennyson's words, one in your own, of the things that 
are to be rung out and rung in. Are all these changes to be 
made at any one new year? Mention some that you think 
are slowly being made and tell why you think so. Answer the 
questions on page 319. Ask a question of your own on the 
meaning of some part of the poem. 

Have the children select the stanza or stanzas they like best 
and read their choice to the class. Continue the memorization 
drill as usual. 

For biographical sketch, see page 129, Manual. 



RED-LETTER DAYS 219 

THE SOLDIER'S REPRIEVE (p. 320) 

This selection may be used either for oral reading or for dram- 
atization and will make a good number for a Lincoln's Birth- 
day program. 

Have the class read the selection silently to decide what they 
will do with it. For general directions for dramatization, see 
pages 33-39, Manual. 

Outline of Dramatization 

SCENE I 

Characters. Bennie's father, Mr. Owen; Mr. Allen, the minister; 
Blossom ; a Neighbor. 

Time. During the Civil War. 

Place. Bennie's home. 

Action. Conversation between Bennie's father and the minis- 
ter ; Blossom receives the letter ; Mr. Owen is unable to read it ; 
the reading of the letter. 

SCENE II 

Characters. President Lincoln, Blossom, a Messenger. 

Time. The next day. 

Place. The White House. 

Action. Conversation between Blossom and the President; the 
President reads Bennie's letter; the President sends a dispatch; 
Blossom goes away happy. 

SCENE III 

Characters. The President, Bennie, Blossom. 

Time. Two days later. 

Place. The White House. 

Action. The President decorates Bennie. 

SCENE IV 

Characters. Bennie, Blossom, Mr. Owen, neighbors. 

Time. The next day. 

Place. The depot. 

Action. Their welcome home. 



2 20 FIFTH YEAR 

Let the class determine the following points by silent read- 
ing of the selection : What is the main thought in the story 
which must be brought out in the dramatization? Who is 
the leading character, and what has this character's action to 
do with the main thought? What speeches best help you to 
bring out this thought? At what point in the action are you 
most in suspense? For what scenes will you have to invent 
most of the conversation ? What exciting scene is not given 
in your plan of dramatization? How can you suggest it to 
your audience ? 

Have the class read silently the paragraph at the bottom of 
page 325, and give reasons why it is worth memorizing. Let 
them time themselves on the memorizing and then write it 
from memory in their books of memory gems, checking up to 
see that it is written correctly. 

Pronounce with the class : sentinel, palsy, anxiety, mechani- 
cally, eternity, reprieve, culpable negligence, justification. 

IN THE WILDERNESS (p. 326) 

This story is to be read silently, for its interest in connection 
with Washington's birthday. Use the picture to awaken in- 
terest; have the children judge from it the period of history, 
the time of year, and the hero of the story. 

After the selection has been read silently, have the class an- 
swer the questions on page 331. Then divide the class into two 
groups and let each work out ten good questions on the story, 
bringing out what they think its main points. 

Pronounce with the class: survey, polite, knapsacks, halt. 

For biographical note see page 102, Manual. 

THE SELFISH GIANT (p. 332) 

This story may be used for oral reading, for oral dramatiza- 
tion, or for a moving-picture scenario. 



RED-LETTER DAYS 221 

Have the class read the story silently, to decide which they 
will do. After they have decided, suggest that it might be in- 
teresting for one part of the class to work out the oral drama- 
tization and the other to work out a moving-picture scenario. 
For suggestions see pages 33-39 and 157-159, Manual. 

The following outline covers the main points of the action : 

1. The Giant drives the children out of the garden and posts a 
notice. 

2. Spring comes outside, but winter remains in the garden. 
(This scene may be worked out by having the children dancing out- 
side the garden, to spring music. Alternately with these, have other 
children represent the Snow, the Hail, and the North Wind, inside 
the garden, to an accompaniment of loud, brisk, music.) 

3. The Giant hears music and finds the garden full of children, 
and the little boy trying to climb up the tree. 

4. The Giant makes friends with the children and gives them his 
garden to play in. 

5. The Giant finds the little boy again. 

6. The children come in to play after school and find the Giant. 

The questions and suggestions on page 339 furnish good ma- 
terial for the necessary study of the content. The children 
should, as for all dramatization, determine the main theme of 
the story and the scenes, characters, and speeches which they 
must emphasize in order to bring it out. 

Pronounce with the class: ogre, determined, trespassers, 
prosecuted, palms, wound, awe, Paradise. 

Biographical note. — Oscar Wilde (1856-1900) was an Irish writer 
of stories, plays, and poems. His plays are especially witty and 
brilliant. The Happy Prince and Other Stories contains some of his 
best prose work. 

POMONA'S BEST GIFT (p. 340) 

This selection is to be used for Arbor Day and studied for 
its cultural interest. 



222 FIFTH YEAR 

Have the class look at the picture and the title and read the 
poem orally. Discuss it as follows : Pomona was the Roman 
goddess of fruits and gardens ; she was represented as a beauti- 
ful girl carrying fruits and a pruning knife. What fruit is 
here called her best gift? This is an old song used in Sussex, 
England, by the boys who used to go through the orchards on 
Christmas and New Year's Day to drink the health of the trees 
and wish them a good yield for the next season. 

Do you like this way of illustrating a poem? In old times, 
when books were written by hand, many of them had pages 
thus adorned, and often beautifully colored as well. The Eng- 
lish poet Blake also decorated his poems in this way. (See 
page 78, Manual.) Try to design a page like this for some 
favorite memory gem. 

Pronounce with the class : Pomona (po-mo'na). 

See paragraph 9, page 68, Manual. 

SECTION IX — OTHER LANDS AND TIMES 

Questions and directions like these may introduce this sec- 
tion : What is the title of this section? What stories of other 
lands and times do you know? Glance through the section. 
Do you see any stories of any lands or times with which you 
are familiar? 

THE PIED PIPER OF HAMELIN (p. 343) 

This poem may be used for oral reading, for a moving-picture 
scenario, or for oral dramatization. Oral reading, with special 
care to bring out its dramatic quality and to render its very in- 
teresting tone effects, rimes, and rhythms, will probably be 
most effective. It will, however, interest the class to work 
out a dramatic scheme on the lines suggested below. 

The children may remember other poems of Browning's and 



OTHER LANDS AND TIMES 223 

something about his life. Tell them that this poem was written 
to amuse a boy who was ill. 

Have the class read the story silently as a preparation for 
whatever work is to be done with it. 

Outline of Dramatization 
SCENE I 

Characters. The Mayor ; The Piper ; members of the Council. 
Time. Immediately after the rats are drowned. 
Place. The market place. 

Action. The Piper demands his money; the Council refuses to 
pay him. 

SCENE II 

Characters. Children and the characters of Scene I. 

Time. A few minutes later. 

Place. The street. 

Action. The Piper blows his pipe; the children follow the Piper 
and disappear ; the Mayor and Council watching the disappearance 
of the Piper. 

The following scenes are suggested for a moving-picture 
scenario : 

1. The Council makes a bargain. The Council discusses what to 
do about the rats. The Piper enters. He makes his offer. The 
council accepts. 

2. The enchanted pipe. The Piper begins to play. The rats 
follow him into the Weser. 

3. Paying the Piper. The people rejoice. The Mayor gives orders. 
The Piper demands his pay. The Mayor refuses. The Piper 
threatens. The Mayor tells him to blow his pipe till he bursts. 

4. The Piper is heard again. The Piper plays and the children 
follow. The Mayor and people watch them, helpless. They go up 
the mountain and into the cave. 

Questions like the following will aid interpretation : What 
events have been described in the poem before this extract 
begins? What do you think there was in the music that made 



224 FIFTH YEAR ' 

the rats and the children follow it ? This is an old story of the 
times before America was discovered; what touches in the 
description show that it is? How should you read lines n, 
page 343, to 5, page 344; lines 25, page 345, to 10, page 346? 
What sounds do these lines imitate? The old saying to "pay 
the piper" is connected by tradition with this story. 

Pronounce with the class : adept, plunged, Hamelin, guilders, 
Corporation, gypsy, vermin, scorpions, survivor, enraptured, 
Koppelberg, cavern. 

Read the whole poem to the class if time permits. They 
may also be interested in the story of Orpheus. 

For biographical sketch, see page 74. 

THE CUNNING ARAB (p. 347) 

This selection is to be read silently, for its narrative interest. 
The reading should take about two minutes. 

After the class have read the story silently, have them look 
at the picture on page 348. Questions like these are suggested : 
What sort of scene forms the background of this picture ? What 
scene in the story does it illustrate ? What do you know about 
the life and customs of the Arabs ? Where is their country ? 

Have the children answer the questions on page 349. 

Pronounce with the class : Arab, Neggden, Bedouin, Daher, 
stratagem, herb, Nabar, entreaties, rogue, deterred. 

THE CADI'S DECISIONS (p. 350) 

This lesson is to be read silently for its narrative interest, and 
is to form a basis for word drill. 

Have the class read the story silently, each making a list of 
the words of whose meaning or pronunciation he is not sure. 
Give a class word drill on these. Have the sentence containing 
each word read aloud, and then re-read with a synonym substi- 
tuted. Make a list of the words for which no one in the class 



OTHER LANDS AND TIMES 225 

can suggest a good synonym and assign these to be found in 
the dictionary by groups or individuals. 

For content study, have the class answer the questions on 
page 359, re-reading the story if necessary. Call attention 
also to the picture on pages 354 and 355 The class should 
know what officer in our government corresponds to the Cadi 
in Arabia, and try to find a picture of an American court scene. 
Suggest the question of how these cases would have been de- 
cided in America. 

IN ARDEN FOREST (p. 359) 

This selection should be read aloud, and then memorized. 
If it is available in a musical setting, have it learned as a song. 
Tell the class the story of "As You Like It," or read them the 
story from Lamb's Tales from Shakespeare. Have them try 
to picture the life of the banished duke in Arden. Their knowl- 
edge of Robin Hood in Sherwood will help. 

Biographical note. — William Shakespeare (1564-1616) is generally 
considered the greatest of English poets and dramatists. He was 
born at Stratford-on-Avon, but very little is known of his life. His 
plays show a wide sympathy with all sorts of people, a keen sense 
of humor, a remarkable knowledge of humanity, and a creative imag- 
ination of almost unequaled power. The people he creates seem 
more real than the figures of history ; and the historical characters 
whom he has put in his plays are more lifelike in Shakespeare's hands 
than in any historian's. In pure poetry Shakespeare holds a place 
perhaps even higher than his place in the drama ; and his influence 
on the whole form and content of our literature is almost immeasur- 
ably great. Other selections from Shakespeare in Story Hour Read- 
ings are "I know a Bank," Sixth Year, page 34, from A Midsummer 
Night's Dream; " Ingratitude," Sixth Year, page 348, from As You 
Like It; " Polonius's Advice to his Son," Seventh Year, page 413, 
horn Hamlet; and " Mercy," Seventh Year, page 414, from The Mer- 
chant of Venice. Hamlet is one of Shakespeare's four greatest trag- 
edies ; the other plays mentioned are among his best comedies. 
s.h.r. man. 4-5-6 — 15 



226 FIFTH YEAR 

THE BUGLE SONG (p. 360) 

This selection is to be read orally and memorized ; the study 
is to interpret the background and to assist appreciation of the 
imagery and musical quality of the poem. 

Introduce the study as follows : 

Who is the author of this poem? What do you know about 
Tennyson? What poems of Tennyson's have you read? "The 
Bugle Song" is one of the most musical of Tennyson's poems. 
Try to imagine yourself back in the Middle Ages. What do 
you know about life at that time ? As you read the poem you 
will enjoy not only the actual music of the language but what 
it suggests : the castle, with its towers aflame in the sunset ; the 
beauty of mountain and lake as the last rays of the sun light 
them up; the splendor and music of the leaping waterfall; 
and, above all, the call of the bugle, the echoes loud and strong 
at first, but becoming fainter and fainter until they seem as far 
away as the horns of Elrland and then die away altogether. 

Read the poem to the class, bringing out the music and the 
pictures. Then have them read the poem stanza by stanza, 
with directions, comments, and questions like the following: 
Read the first stanza. Describe the picture you see. What 
sound is heard at the same time ? 

Read the second stanza. What is added to your picture 
in this stanza? What and where is Elrland? To what sport 
does the horn summon people ? What time of day is suggested 
by purple glens? Read the last stanza. What do the first 
two lines add to your picture? Do the echoes of the bugle 
ever stop? What does the poet say about them in lines 15 
and 16? Describe for us the whole picture that you now have 
in mind ? 

Have the whole poem read two or three times, suggesting 
that as the poem is read the class try to visualize the picture 
and imagine the sound of the bugle and the echoes. 



OTHER LANDS AND TIMES 227 

Continue the memorization, following the usual plan. (See 
pages 47-51, Manual.) 

The following outline may be useful : 

The setting. {Stanza 1.) 
The echoes grow fainter. (Stanza 2.) 

The echoes die away, but human thoughts and emotions continu- 
ally gather strength. (Stanza 3.) 

Pronounce with the class : cataract, summits, 
For biographical sketch, see page 129, Manual. 

THE MINNOWS WITH SILVER TAILS (p. 361) 

This selection is to be read as a dialogue, and made a basis 
for word drill. 

Make sure that the class know what minnows are. Then 
have them read the selection silently, to prepare for the oral 
reading. They should be asked to note any unfamiliar words, 
and drill should be given on these in the usual way. Substi- 
tute the children's synonyms for the original words as far as 
possible, using the dictionary only for meanings that cannot 
be gathered from the context. Pronounce with the class : 
cuckoo, miserable, politics, ascertained, grievances, celery, com- 
posedly, salutation, troll, curiosities, aggravating, new-fangled, 
asparagus. 

The questions on page 367 will furnish material for the nec- 
essary study of background and content. Make sure that the 
class understand what their reading is to express and what 
point they are to bring out. When this study is finished, as- 
sign parts and have the selection read as a dialogue, one pupil 
reading the longer explanatory paragraphs. Phrases like " cried 
the little boy," "she observed," etc. should be omitted. Im- 
press upon the pupils the necessity of reading their respective 
parts in keeping with the character speaking. 

For biographical sketch, see page 127, Manual. 



228 FIFTH YEAR 

THE FIRST PRINTER (p. 367) 

This lesson is to be read silently for its informational value, 
and for appreciation of the importance of printing. 

Introduce the reading by questions like the following: 
How are our books and newspapers prepared for us? How 
many of you have ever seen a modern printing press at work? 
Printing by the use of movable type has been in use only about 
five hundred years. How did people get along before that 
time ? How were books made ? Could many people own books 
when each one had to be printed by hand ? Why not ? How do 
you suppose the idea of using type came about? Read the 
story and find out. 

After the class have read the story silently, divide them into 
three or four groups and let each prepare five questions which 
will bring out the main facts of the story. Have each group 
answer another group's questions as well as those on page 372. 

Pronounce with the class : Haarlem, Netherlands, rarity, 
Gutenberg, Mayence, Venice, Switzerland, dupes, lever, Strass- 
burg, cashiering, democratic. Have the class find on the map 
the towns and countries mentioned. 

Thomas Carlyle was a great Scottish writer of the nineteenth 
century. In the quotation on page 372, what does he say about 
the importance of printing ? How could this invention help to 
disband armies, cashier kings, and create a new democratic 
world ? What paragraphs in the story have the same idea ? 

PANDORA (p. 373) 

This selection is to be read orally, for the story, and for 
comparison with other myths. 

Explain to the class that the story of Pandora and Epime- 
theus is what is called a myth ; that is, a story which attempts 
to explain how or why something began to exist. Ask them to 
recall other stories of this character which they have read. 



OTHER LANDS AND TIMES 229 

They will naturally think of the Indian story of Mondamin, 
and perhaps of other Indian folk tales. Tell them that this 
is a Greek story, so old that we have no idea who first told it. 
Give very briefly an idea of the general character of the Greeks, 
and remind the class that this story comes to us from a people, 
cultured and artistic, very different from the Indians with whose 
folk tales they are familiar. This is a folk tale which highly 
civilized people have retold. 

Pronounce with the class : Pandora, Epimetheus (ep i me'- 
thus), intricate, lamentable, gigantic, personage, anguish. Get 
from the context the meaning of words like "intricate" and 
"gigantic." 

Have the class read the story orally, state briefly what 
this myth attempts to account for, and then retell it in their 
own words. Let them answer the questions on page 376. 

For biographical sketch see page 155, Manual. 

HUNTING SONG (p. 377) 

This selection is to be read orally, for its atmosphere and 
imagery. 

Call attention to the picture and get the children to tell any- 
thing they may have heard or read about hunting the deer with 
hounds. They will see from the picture that this poem, like 
"The Bugle Song," page 360, describes a scene in the Middle 
Ages. 

Read the poem to the class, then study it as follows : Re- 
read the first stanza. What time of day is it? In what sort 
of country is the scene laid? The author of this poem was a 
Scottish writer, and very fond of his own country. The scene 
he has in mind is probably in the picturesque mountain country 
of Scotland. The "chase" means all the hunting party — 
horses, dogs, hawks, and the foresters, whose duty it was to 
guide the hunt. Try to imagine the group at the gates of the 



230 FIFTH YEAR 

castle and take part in their excitement. For what were the 
hawks used? In "The Bugle Song" you had to imagine the 
distant sound of the "horns of Elfland" — a fairy hunting 
party. This hunting party is a very real and lively one. Read 
the second stanza and try to picture the dawn, and the foresters 
coming back to the castle to get the hunt started. Explain 
lines ii and 12. Read the third stanza. How do the foresters 
know how tall the buck is? Read the fourth stanza. Of what 
do the huntsmen remind the lords and ladies? Answer the 
questions on page 378. 

Pronounce with the class : whistling, knelling, antlers, balk, 
stanch. 

Biographical note. — Sir Walter Scott (1771-1832) ranks as one 
of the world's great writers of romance. He was born in Edinburgh, 
Scotland, which he calls " my own romantic town." While a boy he 
spent much time in the picturesque country on the border between 
Scotland and England, where almost every tiny village has an event- 
ful history, centuries old. When he grew up he became a lawyer, but 
he retained his fondness for the stories and legends of ancient Scot- 
land and collected many of them in his Minstrelsy of the Scottish 
Border. His first romances were long poems, of which The Lay of 
the Last Minstrel, Marmion, and The Lady of the Lake are the best. 
Children will greatly enjoy hearing or reading parts of these. 

His prose writings, which give him his high place in literature, in- 
clude Ivanhoe, a romance of the time of Richard Lion-Heart and 
Robin Hood ; The Talisman, a story of the Crusades ; and Kenil- 
worth, sl tale of Queen Elizabeth's brilliant court. Besides his histor- 
ical romances, Scott wrote stories of a time nearer his own, which 
have the same romantic quality and show in addition a powerful 
creative imagination and a remarkable skill in describing Scottish 
life and character. 

Other selections from Scott in Story Hour Readings are " Breathes 
there the Man," Sixth Year, page 391, " The Lists at Ashby," Seventh 
Year, page 363, " Marmion and Douglas," Eighth Year, page 154; 
and " The Knight of the Cloak," Eighth Year, page 181. 



OUR COUNTRY 231 

SECTION X — OUR COUNTRY 

Introduce this section by questions like these : What selections 
do you find in this section ? What does the poet pray for 
in the introductory stanza? How important to a country are 
peace, justice, freedom, and right laws ? Can you name other 
things of more importance? 

Biographical note. — John Greenleaf Whittier (1807-189 2) was born 
in Haverhill, Massachusetts, in the old farmhouse built by his an- 
cestor who came to America in 1638. As a boy he had to work hard 
on the farm, and the only schools he attended were those near his 
home. The first poetry (except that of the Bible) which he heard 
and enjoyed was that of Robert Burns, a great Scottish writer of 
songs. This inspired him to write poetry. Later some of his verses, 
which his sister had sent to a newspaper, were published, and the 
editor of the paper urged him to go on writing. 

Whittier's favorite subject was the life, present and past, of the 
New England countryside where he was born and brought up. His 
Snow-Bound gives a delightful picture of his own home in Haverhill ; 
and many of his shorter poems give pictures of country life or retell 
old stories of the people. His style is simple, clear, and full of sym- 
pathy with his subject. Other selections from Whittier in Story 
Hour Readings are " In School Days," Sixth Year, page 98, " The 
Corn Song," Sixth Year, page 118, "Our Country's Call," Sixth 
Year, page 376, " Autumn on the Farm," Seventh Year, page 183, 
and " Snow-Bound," Seventh Year, page 195. 

INDEPENDENCE BELL (p. 381) 

This selection is to be read orally, for its historical interest. 

Have the class recall the story on which this poem is founded. 
Let them look at the picture on page 380 and the one on page 
383, which shows Independence Hall, in Philadelphia. Re- 
mind them of the events there on July 4, 1776, and ask them to 
imagine how the people who were waiting for news outside 



232 FIFTH YEAR 

must have felt. Ask some one to read the stanza which de- 
scribes (a) the people in the streets, (&) the people at the State 
House door, and (c) the conversation heard in the crowds. The 
fourth stanza contains a reference to other lovers of freedom; 
explain to the class the reference to the Spartan king, Leonidas, 
who died at Thermopylae in a vain attempt to turn back the 
great Persian army. 

Ask some one to read (a) the stanza which describes the bell 
ringer waiting for news, (b) the stanzas which tell about the boy's 
part in the story, (c) the stanza which tells how the news was 
received, and (d) the stanza which recalls our own share in these 
events. 

The following questions and those on page 384 will assist 
appreciation: Why is Philadelphia called the Quaker town? 
Who were Adams and Sherman, and why were the people won- 
dering about them? Why is the story of Leonidas a suitable 
one to refer to here? Look up "phoenix" in the dictionary and 
find out what it has to do with the bonfires. 

Pronounce with the class: tumult, mingling, hazard, scep- 
tered, dallying, intonation, phoenix, beauteous, clamorous. 

Close the lesson by having some good reader re-read the poem 
orally. 

AMERICA (p. 384) 

This poem is to be read orally, and studied for its thought. 

Explain to the class that the poem from which this extract 
is taken is one of the many which have been written about our 
country. 

Read it aloud to the class and have them divide it into two 
parts — the first, in which America speaks ; the second, in 
which the Angel answers America's question. Have some one 
in the class read each of these. 

Questions like the following will aid interpretation : Whom 
does America thank for her existence? In what wavs did the 



OUR COUNTRY 233 

land and the sea make America's existence as a nation difficult ? 
What question does America ask? What does the Angel say 
must be the ends of art and science? What attribute of our 
country does the eagle represent? Explain line 9. Line 10 
means that our laws must continue to be just, by being adapted 
to changing conditions. Explain lines n and 12. So long as 
these things are so, what does the angel say will be the case ? 

Biographical note. — Sidney Lanier (1842-1881) was born in Ma- 
con, Georgia. He served in the Confederate army during the Civil 
War and after the war practiced law with his father. His taste for 
music and poetry led him to give up the law and go to Baltimore, 
where he could have opportunities for work in his chosen field. There 
he worked hard, reading, writing, and lecturing, and was finally 
made lecturer in English at Johns Hopkins University. Lanier was 
an accomplished and talented musician, and his poetry is full of unusual 
metrical effects. His fine long poem " The Marshes of Glynn" and 
his " Song of the Chattahoochee " are good examples. 

I AM AN AMERICAN (p. 385) 

This selection is to be read orally, for its presentation of 
Americanism. 

Introduce the study by questions like the following : 

Who are Americans? Is the person whose ancestors came 
over in the Mayflower necessarily any better an American than 
one whose father came recently? What is it that really makes 
a person a good American ? 

In this poem two persons speak. The first is the one whose 
ancestors came over early in colonial days. He talks entirely 
about his ancestors and the past. The second speaker is a 
Russian whose ancestors were little better than slaves under 
the tyranny of the Czar. He comes in the hope of obtaining 
freedom and opportunity. He looks forward and his hope is 
in the future. 



234 FIFTH YEAR 

Read the entire selection to the class and have them go over 
it, sentence by sentence, to discover the exact meaning. Have 
them answer also the questions on page 387. 

Questions like the following will stimulate thought : What 
is the significance of the picture on page 386? Why was it 
placed over the second American's speech instead of over that 
of the first one ? With which speaker do you sympathize more 
warmly ? Why ? 

Pronounce with the class : ancestors, foresaw, serene, Siberia, 
Czar, knut. 

Biographical note. — Elias Lieberman was born in Petrograd, 
Russia, in 1883, and came to America when he was eight years old. 
He was educated in the New York public schools and is now head of 
the department of English in a high school. He is the author of prose 
and verse and has written and translated several plays. 

Have the class read the quotation from King Henry VIII 
on page 387, explain it, and memorize it. 

LITTLE ATHENS' MESSAGE (p. 388) 

This story is to be read orally for its teaching; the pledge, 
which sums up the idea of the story, is to be memorized. 

Explain to the class the historical background. From about 
500 B.C. to 300 B.C., Greece was the leading country in the world. 
The golden age of the city of Athens, sometimes called the "Age 
of Pericles," from the statesman who guided Athenian affairs 
during this time, lasted only about fifty years, from about 
480 B.C. to 430 B.C. During that brief time Athens produced 
sculptors, poets, dramatists, and philosophers whose work is still 
unexcelled. The Greeks were the first people to realize the im- 
portance of the individual and the mutual dependence of the 
citizen and the state. The message that Little Athens gave 
to his schoolmates was a pledge which was made by every 
Athenian boy. 



OUR COUNTRY 235 

Have the class read the story silently, as a preparation for 
oral reading, noting the words they wish to have pronounced 
or explained. Place these words on the blackboard and give 
drill as usual. 

Have the whole story read orally and then go on to the study 
of the pledge. Ask the class to find and read aloud the four 
things pledged, and the object of the pledges. They should sub- 
stitute words of their own for "revere," "incite," "unceas- 
ingly," "transmit." If the class finds them helpful, key words 
may be placed upon the blackboard as each part is read. 

1. disgrace, dishonesty, cowardice, desert our comrades 

2. fight, ideals, sacred 

3. revere and obey, incite, respect, reverence 

4. strive unceasingly, quicken, sense of civic duty 

5. transmit, greater, better, more beautiful, transmitted 

Continue the memorization drill, as suggested on pages 47-51, 
Manual. 

Suggest that the children include this pledge in their books 
of memory gems. Questions like those in note 2, page 392, and 
the following will be helpful : What do you think of this pledge ? 
If every man and boy in this country made such a pledge and 
kept it, what would be the result? What is the picture on page 
388 intended to symbolize? What two cities are suggested 
by it? The picture on page 391 shows the famous hill in Athens 
where what is left of the Parthenon, one of the most beautiful 
buildings in the world, still stands. It was the temple of the 
goddess of wisdom, Athena, for whom Athens was named. 

Pronounce with the class : fascinating, timidity, assigned, 
immigrant, steerage, cowardice, civic, transmit, dictation, in- 
stalled. 

Biographical note. — Mrs. Anna Doan Stephens, who wrote this 
story for the Peace Association of Friends in America, is the wife of 
a physician in Muncie, Indiana. 



236 FIFTH YEAR 

GIVE US MEN (p. 392) 

This poem is to be read orally, for its description of a good 
citizen. 

Read it to the class, and then have them re-read it silently 
and answer the questions on page 393. Close the lesson by 
having the poem re-read orally. Have the class read the short 
quotation from Lincoln on page 393. Have them state it briefly 
in their own way, memorize it, and copy it into their books of 
memory gems. 

THE MAKERS OF THE FLAG (p. 394) 

This selection is to be read silently for appreciation of what 
the Flag represents. 

Explain to the class that Franklin K. Lane, the author of 
this selection, was for seven years a member of the President's 
Cabinet, as Secretary of the Interior. It was largely due to 
his efforts that many of our national parks were set aside. The 
class may know the name and location of some of these govern- 
ment parks. Have them state some of the ways in which these 
parks are of use to our country. 

Ask the class to read the selection silently and then state in 
their own words what the author means by a "maker of the 
Flag." Questions like the following and those on page 397 
will help the class get the idea : Line 24, page 395, gives one 
of the main ideas of this selection. In what way was Mr. Lane 
himself a maker of the Flag? What Flag makers can you sug- 
gest in addition to those named here? The last paragraph 
gives the other principal idea in its first sentence. If for each 
citizen the flag is a symbol of his own ideals, what respon- 
sibility rests on each of us? 

Biographical note. — Franklin K. Lane (1864-1921) was born in 
Canada. He was educated in California and worked as a journalist 
and practiced law. Besides being a member of the Cabinet, he 



OUR COUNTRY 237 

served on various important commissions. His speech at the San 
Francisco Exposition of 191 5 is in Story Hour Readings, Sixth Year, 
page 161. 

THE STAR SPANGLED BANNER (p. 397) 

This stanza is probably familiar to all the class; let them 
sing it, taking care to get the words exactly right. 

Explain to the class the circumstances under which this song 
was written. During the War of 181 2, Baltimore was attacked 
by a British force. On September 12, 1814, Francis Scott Key 
went with a flag of truce on an errand to the British fleet, and 
was detained on board one of the enemy's ships while the bom- 
bardment of Fort McHenry, the defense of Baltimore, was go- 
ing on. All night he watched the action in great anxiety, and 
when he saw in the morning that the Stars and Stripes still 
floated over the fort he wrote the poem which later became a 
favorite national song. 

Biographical note. — Francis Scott Key (1 780-1 843) was a native 
of Maryland. He was a lawyer by profession. 

MY COUNTRY (p. 398) 

This poem is to be memorized. 

Before beginning the reading, tell the class that in this poem 
the author names the things in our country which he loves best.' 
Ask them what they would mention in such a poem, and make 
a list on the blackboard of the things they suggest. 

Read the poem and then study it stanza by stanza, making 
a list, to correspond to the children's, of the things its author 
mentions. Use questions like these : 

In the first stanza, what does the author say he loves? 
Substitute synonyms for (a) rear, (b) fantastic, (c) hoary. 
What different things do you see as you read the first stanza? 



238 FIFTH YEAR 

What natural features are mentioned in the second stanza? 
What pictures do you see as the stanza is read? Use a syno- 
nym in place of "abodes." 

What things are mentioned in the third stanza? Describe 
the pictures suggested. What does the author say of the 
flowers? What word would you use in place of "ween"? 
Which of all the things mentioned in the first three stanzas 
do you love best ? 

Read the fourth stanza. What charms are mentioned in 
the first two lines ? What does the poet love most of all ? 
Do you agree with him ? 

Continue the memorization as usual. For general directions, 
see pages 47-51, Manual. 

See paragraph 9, page 68, Manual. 

SUMMARY 

Summarize the children's impressions of this book by 
questions like the following : 

Which section of this book do you like best? Can you 
tell why ? (Have several children tell.) 

Which story do you like best of all? Why? Which 
poem ? Why ? 

Make a list of the five or ten stories which you like best. 
Make a list of the rive or ten poems which you like best. 

Now that you have finished reading the book, would 
you like to read your favorite stories and poems to some 
of the members of your family ? 

A day or two later take a few minutes to find out how 
many children read and what selections they chose. 

Which of the books listed on pages 399-400 have you 
read ? What titles would you like to add to the list ? 



PART IV — SUGGESTED LESSON PLANS 
SIXTH YEAR 

SECTION I — IN THE OPEN 

Before the pupils examine this section have them read over 
the table of contents, observing the divisions of the book and 
the names of authors that they recognize. 

Then let them glance through the first section, with such quer- 
ies as these in mind : If you were to give this section a name, 
what would you call it? Read the introductory paragraph. 
Have you ever slept out of doors all night ? What about such 
an experience would be pleasant? What unpleasant features 
might there be. Read the paragraph again. Do you think 
Robert Louis Stevenson, the author of this paragraph, enjoyed 
the out-of-doors ? 

Suggest that in their Seventh Year book they will read a 
fine essay about a night this writer spent sleeping out among 
the pines. 

Biographical note. — Robert Louis Stevenson (1850-1894) was 
born in Edinburgh, Scotland. Like Sir Walter Scott, another great 
Scottish writer of romance, he was a delicate child and spent a good 
deal of time in the country. His delightful book, A Child's Garden 
of Verses, gives a picture of his imaginings, games, and ideas as a 
t little boy and is by turns amusing and fanciful. 

Stevenson graduated from Edinburgh University and later, to please 
his father, who was disappointed at his not following the family pro- 
fession of civil engineering, studied law. He was, however, deter- 
mined to write and all through his boyhood and youth consciously 
trained himself in the difficult art of using words. 

From 1875 to 1879 Stevenson spent most of his time in out-of- 
door journeys through France, Germany, and Scotland. His ex- 
periences of travel furnished him with the material for two charming 

239 



2 4 o SIXTH YEAR 

books — An Inland Voyage, the narrative of a canoe trip on the 
rivers of Northern France, and Travels with a Donkey through the 
Cevennes (Southern France). In 1879 Stevenson came to America, 
traveling steerage for lack of money, and journeyed emigrant fashion 
across the continent to San Francisco. The next year he married 
an American woman, Mrs. Osbourne, and returned with her to Scot- 
land. In his search for a climate adapted to his delicate health he 
traveled successively in France, England, and America, and finally 
settled in Samoa, an island in the Pacific Ocean. During all this 
time he was writing, often in spite of exhausting illness. 

Stevenson is known as a writer of charming verse ; as a finished 
and inspiring essayist ; and as the author of some exceptionally 
good stories of romantic adventure. Of these Treasure Island, The 
Master of Ballantrae, and Kidnapped are stories that boys especially 
enjoy. 

The class should certainly read Treasure Island and A Child's 
Garden of Verses. Selections by Stevenson in Story Hour Readings 
are " My Fight with Hands," Sixth Year, page 52, and " A Night 
among the Pines," Seventh Year, page 177. 

THE ROBBER CRAB (p. 13) 

This is a good selection for silent-reading practice, to be fol- 
lowed by careful study, with especial emphasis on the unusual 
words. 

The following teaching plan is suggestive : Look at the pic- 
ture on page 12. Find the robber crab. In what part of the 
world does this crab live ? Why do you say so ? Why do you 
suppose this crab is called the robber crab ? Read the selection 
and find out, beginning with the explanatory note. As sixth 
year pupils you ought to be able to read about 220 words per 
minute. Time yourselves, and see if you can complete the 
reading in three minutes. Then see if you can answer the 
questions on page 15. Scan the selection rapidly and list any 
words which you wish to have pronounced or explained. Select 
two good words from this story which you have never used in 



IN THE OPEN 241 

conversation. Use them in original sentences. Place them in 
your word book and try to use them at least three times during 
the coming week. 

In the word study lay emphasis on the necessity of using 
the dictionary both for pronunciation and definition. The 
following are good words to pronounce, spell, and define : 

velocity cephalothorax daunt gnaws 

gravity agility refractory puny 

reservoirs fibrous similar gills 

Biographical note. — Frederick O'Brien is a Calif ornian writer, 
the author of interesting books and articles on the islands of the Pa- 
cific Ocean. His books White Shadows in the South Seas and Mystic 
Isles of the South Seas give vivid pictures of scenes and happenings. 
" Night Fishing in the South Seas," Seventh Year, page 164, is by 
this author. 

JUNE (p. 16) 

Use this as a memory selection. 

Introduction: What month of the year do you like best? 
Why? Why do so many people like June? James Russell 
Lowell, the author of this poem, lived in New England. Spring, 
in that section, is a little later than in some other parts of the 
country, and June in New England corresponds with the latter 
part of May in some other sections. Name all the attractive 
features that June has for you. 

Study: Let us read this poem and see what Lowell thought 
of June. (Teacher reads the poem to the class.) With what 
question does the poem begin? What reasons does the poet 
give in lines 2-9, page 16, for his delight in June? Read lines 
5 and 6, page 16, and tell what they suggest to you. Read and 
explain lines 7-10, page 16. The poet continues to give reasons 
for his love of June. Read lines 11-16, same page. What do 
you understand by lines 11 and 12? Lines 13 and 14? Lines 
15 and 16? Lines 17 to 24 give us a picture of a pair of birds. 

S.H.R. MAN. 4-5-6 — 16 



242 SIXTH YEAR 

Read them. To whom does each bird sing ? Which song do you 
think is best ? What does Lowell say about June in lines 25-26, 
page 16, and 1-2, page 17? To what is June now compared? 
Why is it a good comparison ? What is said about happiness 
in lines 3 to 6, page 17? What feelings come to the poet as he 
sits in the shade, even though he closes his eyes, lines 7-22 ? Se- 
lect from the poem parts that you like and read them to the 
class. Read any passages that make you see a picture as 
you read them. If you particularly enjoy the whole selection, 
read it to the class. Read the suggestions and questions 
on page 17. Are there any questions that you wish to ask? 
Continue the memorization as suggested on pages 47-51, 
Manual. 

Biographical note. — James Russell Lowell (1819-1891) was born 
in Cambridge and belongs to the group of writers who are associated 
with Boston and its vicinity — Longfellow, Whittier, and Holmes, 
among the poets, and Hawthorne, Emerson, and Thoreau, among 
prose writers. Lowell graduated from Harvard in 1838, was class 
poet, and after hesitating for a while as to his profession became in- 
terested in reform and began to write both prose and verse. His 
poem " The Present Crisis " was written at the time of the Mexican 
War, and was followed up by The Biglow Papers, a clever political 
satire. Lowell was interested also in literary criticism and his A 
Fable for Critics contains his acute comments on the writers of the 
time (1848). 

From 1856 till 1877 Lowell w T as professor of foreign languages at 
Harvard. He w T as also the first editor of the Atlantic Monthly and 
from 1867 to 1872 was joint editor of the North American Review. 
In 1877 he was appointed American minister to Spain and in 1880 
minister to England. 

The poem from which this extract is taken, The Vision of Sir Laun- 
fal, is the story of a young knight, proud and thoughtless, whose castle, 
which no poor man ever entered, lay like " an outpost of winter," 
cold and forbidding in the midst of the summer landscape. Sir 
Launfal wished to go in search of the Holy Grail, but the day before 



IN THE OPEN 243 

he was to set out he had a strange dream. He thought that as he 
rode out of the castle on a summer morning to seek the Grail he saw a 
beggar at the gate, loathsome with disease, and that, shuddering with 
disgust, he flung the poor creature a piece of gold. Then the dream 
scene changed and he thought that he came back on a winter day, 
old, poor, and disappointed in his quest, to find his castle in the hands 
of a stranger. But when he saw a beggar at the gates he pitied the 
poor soul and shared his last bit of bread with him and broke the ice 
in the brook to give him drink. Then the beggar changed to a splen- 
did figure and showed him that the dry crust and cold water had 
changed into the miraculous bread and wine of the Holy Grail. 

Sir Launfal awoke and realized that the true end of his quest was 
in his own castle — he opened its doors to all comers and "the sum- 
mer's long siege " was over at last. 

Other poems by Lowell in Story Hour Readings sue " The Heritage," 
Sixth Year, page 358, and " Beautiful My Country," Seventh Year, 
page 353, from his Commemoration Ode. The class may like to read all 
of The Vision of Sir Launfal (it has a fine description of a brook 
in winter) as well as " The First Snowfall," " To a Dandelion," and 
" The Courtin' n Information on the story of the Holy Grail may 
be found in any encyclopedia. 

SONG OF THE RIVER (p. 18) 

Make this an oral reading lesson, for appreciation especially 
of the musical quality of the verse. The following procedure 
is a good one : 

How many of you have ever heard the music of a brook or 
river as it went on its way ? What is the title of this selection ? 
This poem is full of the sound of the brook. Close your eyes 
as it is being read and hear the music of it. (Teacher reads the 
poem aloud, bringing out its musical quality, and has it re-read 
stanza by stanza by the best readers in the class.) Select the 
lines or stanzas that seem most musical to you and read them 
to the class. Select any lines that give you interesting pic- 
tures, and read them to the class. Select any part of the poem 



244 SIXTH YEAR 

that you like for any reason and read it to the class. Answer 
the questions on page 19. 

Close with a reading of the poem as a whole. Suggest that 
the class collect pictures and make a class poster of river scenes. 

For biographical sketch see page 180, Manual. 

FERN SONG (p. 19) 

Have the poem read aloud by a good reader. Then ask ques- 
tions to bring out the central idea of the stanza — the fern's 
joy in and indebtedness to the rain. 

Biographical note. — John Bannister Tabb (1845-1909) was born 
in Virginia. During the Civil War he served on board a Confed- 
erate blockade runner. In 1884 he was ordained a priest of the Ro- 
man Catholic Church and most of his subsequent life was spent as a 
teacher of English in a Catholic school in Maryland. His poems are 
almost all very short and are remarkable for their delicate precision 
of imagery and their thought, which is at once clear, striking, and 
epigrammatic in expression. 

CAMPING IN THE WINTER WILDERNESS (p. 20) 

This selection is to be read silently, for its narrative and de- 
scriptive interest, with a view to making an outline. 

Introduction: How many of you have ever camped out? 
During what season of the year did you camp? Where? To- 
day we are going to read an account of a man who camped out 
in the winter wilderness. What reasons can you suggest why 
a man might camp out in the wilderness in the winter? What 
difficulties would he have in winter that he would not have in 
summer ? What would be pleasant about it ? 

Have the class read the selection silently. They should com- 
plete the reading in about four and a half minutes. Let them 
make an outline, as suggested on page 23. 

Pronounce with the class : lynx, Musquacook, Bruin. 



IN THE OPEN 245 

Biographical note. — H. O. Templeton has been a Maine guide 
for thirty years. He first entered the Maine woods when he was 
thirteen years old and has been a lumber-jack, timber cruiser, fish 
and game warden, fire fighter, hunter, trapper, and guide. He is 
widely and deeply versed in the lore of lake and forest and speaks as 
interestingly as he writes on subjects pertaining to woodcraft. 

SPRING (p. 24) 

This selection is to be read orally, for appreciation of its pic- 
ture of early spring. 

Introduction: Here we have another nature poem by a 
Southern poet. What two have we had previous to this? 
Judging from the titles which are the most closely related? 

Have the poem read orally by a good reader. Then let a 
member of the class conduct the questioning, following the sug- 
gestions on page 25. 

Explain the word "dryad" somewhat as follows: To the 
ancient Greeks, trees, rivers, lakes, everything in nature, was 
alive, just as human bodies were, and all had souls. This soul, 
they thought, sometimes was visible, and appeared like a human 
being. The spirits of the trees were called dryads and were sup- 
posed to be shy, beautiful girls, only seen in the thick forest. 

Close with an oral reading of the poem, each of the good 
readers in class taking the stanzas in order, by prearrangement, 
so that there will be no break in the reading. 

Pronounce with the class: pathos, jasmine, aglee, azure, 
gala, crocus, pageant. 

Biographical note. — Henry Timrod (1829-1867), was born in 
Charleston, South Carolina. He was graduated from the Uni- 
versity of Georgia and studied law but gave it up for teaching, which 
left him more spare time for writing. He contributed to Southern 
magazines and in i860 published a volume of verse. During the 
Civil War he was correspondent of the Charleston Mercury. Critics 
have ranked him next to Lanier and Poe among Southern poets. 



246 SIXTH YEAR 

A CHILD'S VISIT TO THE MOON (p. 26) 

Use this selection for oral sight reading. After the reading 
have the children answer the questions on page 30. Then have 
them select any part of the story which seemed strange to them 
and read it to the class. Let the reader select a volunteer pupil 
to explain the passage. Have some one look up "Stella" in 
the dictionary and explain why the name was chosen for the 
guide. 

Biographical note. — Agnes Giberne is an English writer, born in 
India. She is the author of a number of books for children, many of 
them presenting scientific facts in story form. 

THE GLADNESS OF NATURE (p. 31) 

This poem is to be read orally. Its title gives the keynote. 

Introduction: You recently read " June " by James Russell 
Lowell. What did all nature seem to be doing in June? 
To-day we are going to read a poem called " The Gladness of 
Nature," written by another of our American poets. What do 
you know about Bryant? Let us repeat " June " and then we 
will read the new poem. 

Read the poem to the class, and direct the recitation as fol- 
lows : What question is asked in the first stanza ? Read it 
silently for the answer to this question. Name three evidences 
of gladness that are found in this first stanza. Read the second 
stanza and name four evidences of joy or gladness found in this 
stanza. What in the third stanza tells us that even the skies 
are glad? Read the fourth stanza and name the expressions 
of joy that we find here. What other things does the fifth 
stanza tell us are full of joy ? Answer the questions at the end 
of the selection. Select one of your classmates to read the poem 
as a whole. 

For a biography of Bryant, see page 104, Manual. 



IN THE OPEN 247 

I DIG A DITCH (p. 32) 

Use this as an oral reading lesson, to bring out the sheer joy 
of the outdoors and hard work. 

Call attention to the title of the selection, and read the intro- 
ductory note to the class. Then have the class read orally in 
response to the following directions : Read the part of the story 
that tells about the author's preparations for digging. Read 
what he says about digging. What does he say about his feel- 
ings as he dug ? What does he do next ? What happens after 
he leaves the stream? What does he say about the taste of 
bread ? What does he do after he finishes his breakfast ? What 
happens next? How is the little factory down in the town 
related to his work of digging a ditch ? W r ith what event does 
the story end? Let the class answer the questions on page 34. 

As a word drill, ask the class to read the sentences which con- 
tain (a) intermittently, (b) reluctantly, (c) culinary; (d) small 
turgid rivulets coursed back again ; then have them re-read the 
sentences substituting other words or phrases for these. ' 

Biographical note. — David Grayson is the pen name under which 
Ray Stannard Baker, a well-known American journalist, has written 
Adventures in Contentment, Adventures in Friendship, and other books. 
Mr. Baker was born in Lansing, Michigan, and now lives in Amherst, 
Massachusetts. 

I KNOW A BANK (p. 34) 

These questions and directions may be found helpful : Who 
is the author of this selection ? What do you know about him ? 
What have you read that he wrote? Read the stanza aloud. 
What makes this bank a very attractive place? What plants 
grow on it? How many of these plants are familiar to you? 
Titania was supposed to be the queen of the fairies. In another 
part of the poem she says of herself : 

" I am a spirit of no common rate ; 
The summer still doth tend upon my state " — 



248 SIXTH YEAR 

that is, wherever she goes flowers and music, light and warmth, 
go with her. Shakespeare's Midsummer Night's Dream from 
which this selection is taken, is a play in which some of the char- 
acters are fairies — Titania and Oberon, King and Queen of 
Fairyland, and Puck, their mischievous servant. It is one of 
the most beautiful of Shakespeare's plays. Try to picture this 
scene as it is read orally. Notice also the music of the words. 
Practice the pronunciation of the following: thyme, luscious, 
eglantine, Titania. Re-read the selection orally. 
For biographical sketch, see page 225, Manual. 

THREE SUMMER STUDIES (p. 35) 

This selection pictures a day in summer at daybreak, at noon, 
and at evening. Divide the class into three groups and have 
each group prepare one part to read to the class. Have the 
groups give a reading of the poem as a whole, first by having 
one pupil from each group read the part assigned to that 
group. 

Then take up the study part by part. Let one group read 
the first part, stanza by stanza, describing the pictures that 
each stanza presents. In Part I have synonyms used in place 
of the following : translucent, alternate, lustrous, maurauding, 
burnished. After Part I has been read, the pupils should try 
to imagine the sunrise it describes. Proceed in the same way 
with each part. Have the children use synonyms for " clangor," 
"somnolent," "solitary," and "parching" in Part II; for "fan- 
tastic," "mirrored," "turrets," and "pallid," in Part III. 
Make use of the suggestions and questions on page 38. Close 
the lesson by a reading of the poem as a whole, choosing three 
good readers. Have the class close their books, shut their eyes, 
and try to visualize each scene as it is presented. 

Biographical note. — James Barron Hope (1 829-1 887) was a native 
of Norfolk, Virginia. (See page 38.) 



IN THE OPEN 249 

THE SPIDER'S TELEGRAPH WIRE (p. 38) 

The selection is to be used as a test. Read carefully the 
directions for giving tests, pages 13-17, Manual. Sixth-grade 
pupils should be able to read about 220 words per minute. 
Have the entire selection covered. 

Arouse initial interest by such questions as these : How many 
different kinds of spiders do you know ? Some of the most com- 
mon spiders are garden spiders, cobweb weavers, funnel weavers, 
the ballooning spider. What have you noticed about the form 
of the web of the garden spider ? Does she live in the web ? 

At the signal let the pupils read the selection silently, as rap- 
idly as they can without missing the thought. 

The following questions are suggested : 

1. Of what is the spider's hiding place usually made? 

2. How does she know when something has been caught in the 
web? 

3. Where is the spider's telegraph wire joined to the web? 

4. Which way does the angular spider face when in her hut ? 

5. To what part of her body is the telegraph wire attached? 

After completing the test, give the class an opportunity to 
ask questions and discuss the selection. Make use of the ques- 
tions on page 41. 

Biographical note. — Jean Henri Fabre (1823-1915) was born 
in the south of France and spent part of his childhood with his grand- 
parents on a small lonely farm. His interest in insect life began 
while he was a small boy, when his mother sent him to tend ducks 
and he came home with his pockets full of the exciting things he had 
found in the duck pond, among them a wonderful blue beetle. Fabre 
fitted himself for a teacher and taught in several cities of Southern 
France, but his study of insects continued to be an occupation and a 
delight to him, and he was able to write about his subject in a most 
interesting style. The great French writer, Victor Hugo, called him 
" the insects' Homer," and the English scientist, Darwin, described 
him as "an incomparable observer." 



250 SIXTH YEAR 

LIFE IN THE WOODS (p. 42) 

This selection is to be read at sight, orally. These questions 
and suggestions will be helpful : 

Who is the author of this selection? What do you know 
about Dr. van Dyke ? How many of you have camped out in 
the woods ? What are some of the pleasant things about camp- 
ing? What are some of the unpleasant features? How do 
most people feel about a rainy day when they are camping out ? 
Let us read the story to find out how Dr. van Dyke felt about 
rainy weather. What does Dr. van Dyke say in the first para- 
graph about people who always live in houses ? Read the para- 
graph in answer to the question. Upon what must they de- 
pend for their excitement? (Paragraph 2.) Why are the 
clouds significant if you are living in a tent? (Paragraph 3.) 
Who are the patriarchs referred to in paragraph 3? Express 
in another way "The vagaries of the clouds become signifi- 
cant." What thoughts come to one as the wind begins to rise? 
(Paragraph 4.) How may a rainy day in camp be spent? 
(Paragraph 5.) What is said in paragraph 6 about the con- 
tinuance of the storm? What hopeful signs occur at evening 
and during the night? (Paragraph 7.) How does the woods- 
man as he wakens know that the storm has passed? (Para- 
graph 8.) What makes the woods attractive after the storm? 
(Paragraph 9.) What are some of the things that Dr. van Dyke 
likes about living in the woods? (Paragraph 10.) Answer 
the questions and follow the directions on page 44. 

For biographical sketch, see page 153, Manual. 



Review Questions: Which selection in this section do you 
like best? Why? Read to the class the poem that you liked 
best. Bring to the class to-morrow any nature story or poem, 
not in this Reader, which you would like to read to the class. 



ADVENTURE 251 

SECTION II — ADVENTURE 

Suggested study : What is this section of the reader about ? 
What does the word suggest to you? What stories of adven- 
ture have you read? (Have some good reader read the in- 
troductory paragraph on page 45.) What is said about life? 
What kind of adventures do we most admire? 

THE ARCHERY CONTEST (p. 47) 

This selection is to be used for oral reading as a dialogue, 
with appreciation of the historical and literary background, and 
of conflict of characters in the story itself. 

Introduction: Judging from the picture on page 46, when 
did this adventure take place? Give reasons for your answer. 
What do you understand by an archery contest? How many 
of you boys have ever shot at a mark with a bow and arrow? 
Is it easy to hit the mark ? Read silently the explanatory note. 
How did this contest happen to take place ? 

Ask the children to glance rapidly through the selection and 
list any words which they wish to have pronounced or denned. 
Give brief drills on pronunciation. Use the dictionary for 
words whose meanings cannot be gained from the context. 
Have the class pronounce, spell, and define the following : bal- 
dric, quiver, provost, braggart, grandsire. antagonist, an, ex- 
horted, adversary, clout, bucklers, whittle, vindicated, jubilee, 
livery, bodyguard. 

Have the selection read as a dialogue, omitting all explana- 
tions not necessary to an understanding of the story. Have 
the necessary ones read by a pupil. Let two or three different 
groups read the story, the other pupils listening with books 
closed. Have the audience decide which group gave the best 
reading, with reasons why it was best. Make use of the sug- 
gestions and questions at the end of the selection. 

For biographical sketch, see page 230, Manual. 



2$2 SIXTH YEAR 

MY FIGHT WITH HANDS (p. 52) 

This selection is to be read silently for its narrative interest, 
and to awaken curiosity as to its source. 

Introduction: What is the title of this selection? Hands 
is the name of a man. This selection is taken from Treasure 
Island, a story of adventure which every boy likes. Have any 
of you read it ? Have any of you seen it on the moving-picture 
screen? This would be an enjoyable book for one of the boys' 
reading clubs. Read the explanatory note. Read the selec- 
tion silently and as rapidly as possible. Try to complete it 
in a little less than five minutes. 

The following words are to be pronounced and defined : man- 
euvers, coxswain, craning, starboard, bulwarks, disquietude, 
tiller, leeward, trigger, priming, grizzled, ensign, dirk, ultimate, 
canted, port, puncheon, scupper, capsized, mizzen shrouds, 
crosstrees, recharge, sign articles, lurch, younker, master mari- 
ner, volition. 

Call the attention of the class to the suggestions and ques- 
tions on page 56. Give them an opportunity to ask questions 
on their own account or to discuss any part of the story that is 
not clear or that is of great interest to them. 

For a sketch of Stevenson and his work, see page 239, 
Manual. 

POCAHONTAS (p. 56) 

This poem is to be read orally and studied for its connection 
with a famous adventurer of history. 

Have the pupils recall what they remember about Captain 
John Smith. Appoint a committee to look up and report upon 
Captain Smith's connection with the American colonies. Ask 
them to relate the incident of Smith's capture and his rescue by 
Pocahontas, upon which this poem is based. Then read the 
poem to the class. 



ADVENTURE 253 

These questions will bring out the leading facts of the se- 
lection : Who is the knight referred to in the first stanza ? In 
what condition was he ? What does the second stanza tell us ? 
What unexpected event occurs? What did Pocahontas do? 
What is meant by "the Indian right"? 

Have the class answer the questions in notes 1 and 2, page 
57, and read note 3. Ask them to recall what they know of 
the author of this selection. 

The following words should be pronounced and defined: 
wage, pyre, mien. 

Close the lesson by having the poem read as a whole. 

For a biographical sketch of Thackeray, see page 123, 
Manual. 

THE SUNKEN TREASURE (p. 58) 

This story is to be read silently. Its points of interest are 
the buried treasure and the adventurous career of Phips. 

Introduction : What other story about finding buried treasure 
have you read recently? Who was the author? Who is the 
author of this selection? This story tells about the search 
for a Spanish treasure ship which was wrecked near the Bahama 
Islands. Read the story silently. Try to complete it in about 
seven minutes. 

Use the notes on page 63 as a basis for further study. Get 
the class to tell about other stories of hidden treasure they have 
heard or read. Have them pronounce and explain the following 
words and phrases : hewing, knees for vessels, follow the sea, 
cast away, brought to light, treasury, cruised, pirate, mutiny, 
unseaworthy, leagues, laden, Algier, Albemarle, adze, reef, 
flaunted, reflux, grandee, sacramental, bullion, obscure. 

Have some child look up the story of King Midas in Haw- 
thorne's Wonder Book and explain lines 3-5, page 63. 

For a sketch of Hawthorne, see page 155, Manual, 



254 SIXTH YEAR 

CHASED BY WOLVES (p. 64) 

This selection is to be read orally and correlated with written 
work in English. 

Introduction: To-day we have a different kind of adven- 
ture story. What is its title? Will it be exciting? Read it 
silently to find out, and to prepare for the oral reading. 

Ask the class to glance through the selection again and list 
any words which they wish to have explained or pronounced. 
Give the usual drill, including in it the following words: ad- 
dicted, sequestered, mazy, reverberated, appalled, velocity, 
calculating, involuntary, lolling, tushes, evolution, haunches, 
wended. 

Have the selection read orally. Tell the children to read 
it in such a way as to make their hearers feel the excitement 
and suspense. This selection contains many vivid descriptions. 
Let several children select descriptive passages that they think 
are unusually good and read them to the class. The paragraph 
beginning line 6, page 65, is a good example. Ask one group 
to make a list of the good action words in this lesson, such as 
" glide," " threading," " flowed," " bound," in the first para 
graph. Another group should make a list of the unusual de- 
scriptive words ; a third may select sentences, which seem to them 
especially striking, read them to the class, and name the words 
which make the picture vivid. Have each pupil select any ten 
words that he likes and be ready to use them in good original 
sentences in English work next day. 

The pupils will be glad to bring to the classroom a list of 
books or separate stories or both based on adventures with 
wild animals. A profitable recitation can be had by dis- 
cussing this collection with them, helping them to separate 
the wheat from the chaff. 

The notes on page 67 will furnish material for study of the 
narrative. 



ADVENTURE 255 

ATTACKED BY A SUBMARINE (p. 67) 

This selection is to be read orally at sight, for narrative in- 
terest and correlation with art work. 

Introduction: What is the title of this story? How recently 
did this attack occur ? Why do you think so ? Let us read the 
story orally and find out. 

Call upon good readers to do this sight reading and to read 
the note at the end of the selection. 

The following words and phrases should be noticed and ex- 
plained by the class : we zigzagged ahead as fast as our engines 
could carry ; the white wake unrolled past us ; replied in kind ; 
SOS ; broadside on ; skippers ; dying fall ; it was all over with 
him ; yawed in its fittings ; intact ; drastic ; run amuck ; pan- 
icky ; automatic ; cut loose ; on the rampage ; stuck hard to 
their posts ; quelled ; groggy ; tacked ; periscope ; out of com- 
mission ; fangs ; Kamerad ; sheer off ; diagonally ; bridge. 

Have the class find out why Argo is often chosen as the name 
of a ship. 

The boys of the class may be interested in collecting pictures 
of submarines and making a poster. 

I FIND A FOOTPRINT (p. 72) 

This story is to be read silently. Its central point of interest 
is the paragraph beginning at line 5, page 75. 

Introduction: What other stories from Robinson Crusoe have 
you read? Remember that he had been living for years all 
alone on this island somewhere in the tropics. How do you 
imagine he felt when he saw a footprint? Put yourself in his 
place, and think whether you would have been glad or afraid. 
Read the story silently to find out how he felt. You should 
be able to complete the reading in about six minutes. 

As a word drill, have the class read the sentence containing 
each of the following words and then re-read it, substituting a 



256 SIXTH YEAR 

synonym : p. 73 — line 20, tolerable ; p. 74 — line 12, pale, line 
31, hazardous ; p. 75 — line 9, apparition, line 31, apprehensions ; 
p. 76 — line 16, racked, line 25, chimera ; p. 77 — line 11, simili- 
tude, line 18, vapors. 

The questions on page 77 supply material for study and dis- 
cussion. Follow them up by having further incidents read 
aloud from Robinson Crusoe. For a sketch of Defoe, see page 
115, Manual. 

CUSTER'S LAST CHARGE (p. 78) 

This selection is to be read orally for its picture of a battle. 

Explain to the children that to-day's story is of an entirely 
different type of adventure — General Custer and 277 men 
go out to fight the Sioux Indians, are surrounded by them, and 
die fighting. 

Read to the class the explanatory note and the poem, and 
have them answer the questions on page 80. Ask them to select 
and read aloud passages from the poem which show that Custer 
and his soldiers were brave men. 

The following words and phrases should be pronounced and 
defined : of yore, ringlets, lodges, the valleys the ages had hol- 
lowed, reeked, ere, blench, craven, bayed, pennons, clarion. 
Explain that when the author compares Custer and his men to 
Berserkers he is thinking of the skin-clad Viking warriors who 
were supposed to fight with the strength of the animals whose 
skins they wore, who never surrendered, and who made it a 
point of honor to die with their chief if the battle went against 
them. Get the class to see why the allusion is appropriate. 

Close the lesson by having the poem read aloud by good 
readers. 

Biographical note. — Frederick Whittaker was a soldier in the 
Union Army during the Civil War. Later he became a teacher and 
journalist. He wrote a life of General Custer- 



ADVENTURE 257 

AT THE HELM (p. 81) 

This selection is to be used for oral reading and word 
study. 

Introduction: What does the title of this story suggest to 
you ? Who is the author ? What other stories by Cooper have 
you read? What do you know about bim? Read the ex- 
planatory note on page 81 and note 3, page 87. When did this 
adventure take place? Name some great naval heroes of the 
Revolutionary War. Which one of them takes part in this ad- 
venture ? Read the selection silently to find out what he does, 
and also to prepare for the oral reading. 

After the pupils have completed the silent reading ask them 
to glance rapidly through the selection and list any words which 
they wish to have pronounced or denned. Give the usual word 
drill on these, getting the meanings from the context when pos- 
sible. Divide up the remaining words to be found in the dic- 
tionary, so that too much time will not be consumed in word 
study. 

The list of words should include the following: agitated, 
frigate, quartermaster, weather main chains, braces, leadsman, 
shoals, critical, emulate, execute, stemmed the billows, fore- 
castle, breakers, bower, discipline, countermand, haggard, con- 
tradictory, lost her way, taken aback, precision, head yards, 
retrograde, perception, intuitive, extricate, impetuous, morti- 
fication, fabric, fallen off dead before the wind, embayed, com- 
plicated, jib, mainsail, topsail, springs her luff, boltropes, tor- 
nado. 

Have the selection read orally, assigning the longer and more 
difficult paragraphs to the good readers. Read to the class 
paragraphs of unusual difficulty, for example, lines 26-29, page 
83. The notes on page 87 should be used for appreciative study 
of the context. 

For a biographical sketch of Cooper, see page 196, Manual. 

S.H.R. MAN. 4-5-6 — 17 



258 SIXTH YEAR 

WANDERLUST (p. 88) 

This poem is to be memorized as a summing up of the spirit 
of adventure. 

Introduction: What is the title of this poem? What does 
it suggest to you ? Have you ever felt the impulse or desire to 
wander? What were some of the things that gave you such a 
feeling, or, as the poet says, called to you? Let us read the 
poem and see what things "called" this adventurer. 

Read the poem to the class bringing out the sense of mystery 
and longing. Use study questions like these : What does the 
adventurer mention in the first stanza? Read the stanza. 
Read the line that tells us that this call was very strong. What 
calls to wander does he mention in the second stanza? Read 
it. Who are the most affected by the "wanderlust," young 
people or old people? How does the poet express this idea 
in the last stanza? What does he say about coming and going, 
and the reason for going, in the last stanza ? Read the stanza. 
Continue the memorization in the usual manner. (See pages 
47-51, Manual.) 

Summarize the section, using questions and directions like 
these : Which story of adventure did you like best ? Why ? 
How many of these adventures took place upon the sea ? Have 
you read outside of school any good story of adventure which 
the class would enjoy hearing? If so, prepare it carefully 
for oral reading, and then read it to the class. 



BALLADS OLD AND NEW 259 

SECTION III --BALLADS OLD AND NEW 

Study questions and hints: What is a ballad? What ballads 
did you read in your Fourth Year ? In your Fifth Year ? The 
old ballads, such as those that tell the story of Robin Hood, 
were meant to be sung. They are usually in four- or eight- 
line stanzas and are simple in wording, meter, and rime. 

Have some good reader read the introductory paragraph, 
page 89. 

THE BARON'S LAST BANQUET (p. 91) 

This poem is to be read orally, for its stirring meter and its 
medieval atmosphere. 

Introduction: Look at the picture on page 90. At about 
what period of history do you think this banquet took place? 

Read the entire ballad to the class, and then have them turn 
back to the first stanza, and state briefly what it tells about the 
Baron. Have a good reader read it orally. 

Conduct the further study as follows : What does the second 
stanza tell you was about to happen ? What questions does the 
Baron ask, and what does he tell us about himself in the third 
stanza? What word is used in line 15, in place of "heathen," 
or " infidel"? What words are used in the fourth stanza in 
place of the following : alarm bell, sixteenth-century cannon, 
servant, subject, door or gate? What commands does the 
Baron give in the fourth stanza? How were these commands 
carried out? What picture do you see as you read lines 9 and 
10, page 92 ? Read the sixth stanza. What are mailed retain- 
ers? What word in this stanza means "from head to foot"? 
What word means "a short curved sword"? What commands 
does the Baron give in the seventh stanza ? How were his com- 
mands obeyed? Why could he not hear the replies? What 
word is used in the last stanza in place of " heavy " or " mas- 
sive " ? Read the last stanza. Answer the questions on page 93. 



26o SIXTH YEAR 

Ask the class to spell, pronounce, and explain : liege, martial, 
Gothic, girded, clogs. 

Close with an oral reading by the best reader or readers. 

Read to the class Longfellow's "The Norman Baron," and the 
part of Tennyson's " Passing of Arthur" which begins "Then an- 
swer made King Arthur, breathing hard," and ends "And on the 
mere the wailing died away." The same part of the legend of 
King Arthur is given in prose in Baldwin's Stories of the King. 

Biographical note. — Albert Gorton Greene (1802-1868) was born 
in Providence, Rhode Island. He was town clerk for many years, 
and took a great interest in education. He was president of the 
Rhode Island Historical Society and began a collection of American 
poetry for Brown University. His other well-known poem is the 
humorous " Old Grimes." 

THE CHARGE OF THE LIGHT BRIGADE (p. 93) 

This poem is to be read orally, for the incident it describes. 

Introduction: Who is the author of this selection? Name 
other poems by Tennyson that you have read, and give any 
facts that you remember concerning his life and writing. 

Read the poem to the class and have them study it for the 
narrative. The following plan is suggested: Was this Light 
Brigade infantry or cavalry? What line which occurs in the 
first, second, and third stanzas tells you? How were they 
armed? Read the lines in stanza 4 that tell you. A league 
is about three miles. Read the first stanza orally. What or- 
der did the brigade receive? Read the stanza which tells you 
that the order was a mistake. How did the soldiers obey? 
Read the stanza that describes the situation into which 
they rode. Read the stanza which tells how they met the foe 
and what happened. Read the stanza that describes their re- 
treat. What does the poet say in the last stanza about the 
charge of the Light Brigade? Why are these soldiers entitled 
to such great honor? 



BALLADS OLD AND NEW 261 

The questions and suggestions on page 95 supply additional 
study material. 

For a biographical sketch of Tennyson, see page 129, Manual. 

YANKS (p. 96) 

This selection should be read orally for appreciation of its 
central idea. 

Introduction: What people in our country were originally 
called Yankees? In the World War, American soldiers were 
frequently called "Yanks." From what countries had the an- 
cestors of the soldiers in the American army come? This 
poem is intended to show how all these boys were really 
"Yanks," or Americans. 

Read the poem to the class and then study it by stanzas, 
using questions and directions like these : Read the first stanza. 
Who was O'Leary? From what country had his ancestors 
come? Read the stanza that tells what O'Leary was com- 
manded to do. Read the stanzas that tell whom O'Leary 
chose. Name in order the men chosen and after the name of 
each tell from what country his ancestors came. Who was the 
only one with an ordinary American name ? What do you un- 
derstand by line 15, page 97? Read the stanza that tells what 
O'Leary did with the men he had selected. Close with oral 
reading by boys who are good readers. 

The pronunciation of the names in this selection should give 
little trouble. In most cases the meter places the accent with 
sufficient precision. In the final syllables of Dimitri, Gari- 
baldi, and Ravioli, i = e. Ole (o'le), Schuyler (skl'ler), and 
Stuyvesant (sti'v£-s<znt) may need to be pronounced for some 
classes, and Rio Grande and Appomattox may need explana- 
tion. The class may be interested in noting how many of these 
"Yanks" bore names famous in the country of their ancestors 
or in American history. 



262 SIXTH YEAR 

Biographical note. — James W. Foley (1874- ) was born in St. 
Louis. He began newspaper work on the Tribune, Bismarck, North 
Dakota, in 1892. He has written several volumes of verse, besides 
contributing to various periodicals, and is now with the Evening Post, 
Pasadena, California. 

IN SCHOOL DAYS (p. 98) 

This poem is to be read orally, for its story interest. 

Introduction: Who is the author of this poem? What do 
you remember about him? What poems of his have you read? 
This poem was written by Whittier over forty years after he 
attended the school it describes. Do you think that forty years 
from now you will be talking about what happened in your 
school ? Let us read the poem and see what he has to tell about 
his school days. 

Call upon some good reader to read the poem, and have the 
class answer the questions on page 99. Ask some pupil to ex- 
plain what lines 10-12, page 98, suggest to him; another may 
be asked to tell from lines 13-14 at what time this school was 
dismissed, and a third may explain line 16. 

Close the lesson with a reading of the poem by some good 
reader. 

For a biographical sketch of Whittier, see page 231, Manual. 

'TIS THE LAST ROSE OF SUMMER (p. 100) 

This selection is a song and should be studied as one. If the 
school has a phonograph of any sort and a record of the song is 
available, either by purchasing or borrowing, let the first im- 
pression be the musical one. Even if the record is out of the 
question, many of the class may be able to sing the familiar air. 

If the music cannot be had in any form, read the poem to the 
class and study it somewmat as follows : Have you ever seen 
a rose blooming late, after all the others are gone? Read the 
first stanza. What has the poet found in his garden? Read 



BALLADS OLD AND NEW 263 

the second stanza. What does the poet do with the rose? 
Why does he think his action kind? Why does he not cut the 
flower and take it into the house ? Read the last stanza, where 
he reflects on what has happened. Are his thoughts sad or 
happy? What does he wish may happen to him when all his 
friends are gone? This song is one of our best-known ballads. 
It is familiar wherever there are English-speaking people. 
Close the lesson by reading or singing the selection. 

Biographical note. — Thomas Moore (1779-1852) was a native of 
Ireland, and one of the most popular poets of his time. He is now 
best remembered as the author of " 'Tis the Last Rose of Summer," 
" Believe Me if All those Endearing Young Charms," and " The 
Harp that once through Tara's Halls." All of these poems have been 
set to music and are well-known songs. 

THE WRECK OF THE HESPERUS (p. 101) 

This modern poem in typical ballad form is to be read orally 
for its narrative interest. 

Introduction: Who is the author of this poem? What do 
you remember about his life and writings? A ballad usually 
tells a story. What sort of story do you think this ballad tells ? 

Have the poem read to the class by one or more good readers. 
For study material, use the notes on page 104, and suggestions 
and questions like the following : Read (a) the stanza that de- 
scribes the appearance of the skipper's daughter, (h) those which 
mention the signs of the coming storm, (c) those which de- 
scribe the storm at sea, (d) those which give the talk between 
the skipper and his daughter, (e) those which tell of the wreck of 
the vessel. 

Close the lesson with a reading of the poem by a good reader. 
Have the class close their books and listen, trying to visualize 
each scene. 

For biographical sketch, see page 98, Manual. 



264 SIXTH YEAR 

KING CANUTE (p. 105) 

This selection is to be read orally, for its teaching. 

Introduction: King Canute (ka-nut') was one of the three 
Danish kings who ruled in England. His courtiers were con- 
tinually flattering him, telling him that even the sea obeyed 
his will. King Canute, knowing that only God could control 
the sea, determined to teach them a lesson. This ballad tells 
the story of how he did it. 

Read the ballad to the class, and have them read orally the lines 
of the poem which answer the following questions : Who were 
these flatterers and what was their object ? What did they say of 
the power of the king? How did he receive their flatteries? 
Why did the procession go to the seashore? How did the 
king's thoughts differ from those of his attendants as they went 
down to the shore ? What symbols of power did he have and 
what command did he give ? How did the sea respond ? What 
happened next? What is said of Canute and of this tale, or 
story? How does the author contrast the act of a Persian 
king with that of Canute ? 

Have the class answer the questions on page 107. 

The following words should be pronounced and defined: 
servile, contemptuously, briny, undeterred. The Persian king 
referred to is Xerxes, who invaded Greece about 480 B.C. The 
story is that he built a bridge of boats across the Hellespont, a 
strait which separates Europe from Asia. This bridge was 
swept away in a storm before he could take his soldiers across 
it, and in his anger he ordered his men to lash the water with 
scourges and throw fetters into it. 

Close the lesson by having several good readers read the 
ballad. 

Biographical note. — Bernard Barton (1 784-1849), an English poet, 
was born at Carlisle, in the north of England. He was known as 
the Quaker poet and is best remembered for his close friendship with 



BALLADS OLD AND NEW 265 

Charles Lamb, which began when Barton thought that Lamb had 
discussed the Quakers too freely in his Essays of Elia and wrote him 
a letter saying so. Later when Barton wished to gain more time for 
writing by giving up a place in a bank, which he had held for years, 
Lamb opposed the idea — " Keep to your bank and your bank will 
keep you," was his advice. 

THE BATTLE OF BLENHEIM (p. 107) 

This selection is to be read orally, for its philosophy. 

Introduction: The war in which this battle was fought oc- 
curred in the early part of the 18th century. England, Hol- 
land, and Austria were fighting against France and her allies. 
The English and French colonies in America took it up, and 
the struggle between the colonists here is usually called Queen 
Anne's War. The battle of Blenheim took place in Bavaria, 
on the left bank of the Danube. The events told about in this 
ballad are supposed to have occurred many years later. 

Read the ballad to the class, and have the pupils discuss and 
answer the questions on page 109. 

Close the lesson by having a good reader read the ballad to 
the class. 

See page 172, Manual, for a biographical sketch of Southey. 

THE FOX HUNT (p. no) 

This selection is to be read orally for its action and pictures. 

Introduction: What poem did you read in the fifth year 
which had as its subject a hunting scene? ("Hunting Song," 
by Sir Walter Scott. If the class did not use Story Hour Read- 
ings, Fifth Year, borrow the book and read the poem to them.) 
That described medieval lords and ladies, hunting the deer. 
This poem describes a fox hunt in England in the eighteenth 
century. The English people have always been very fond of 
out-door life and sports. What do you know about the manner 
in which a fox hunt is conducted in either England or America ? 



266 SIXTH YEAR 

Have the poem read by a good reader, and study it with the 
class as follows : How does the poet tell us that it is morning ? 
If you had been standing by the wayside as this hunting party 
passed, what would you have seen? What sounds would you 
have heard? Where is personification used in this poem? 
How did the fox hunters end their day? Reynard (ra'nard) 
is an old name for the fox, taken from a famous story of the 
Middle Ages, which relates his crafty adventures and his final 
triumph in a battle with the wolf. If you have any pictures 
showing scenes from a hunt bring them into class. Perhaps 
the class will enjoy making a hunting-scene poster. 

Close the lesson with the reading of the poem as a whole. 
Have the children try to visualize the scenes of the poem as it 
is read. 

Biographical note. — Henry Fielding (i 707-1 754) was one of the 
first great English novelists. He began by writing plays, from one 
of which, Don Quixote in England, this song is taken, but the income 
from his plays was so uncertain that he studied law in order to have 
a more dependable way of earning his living. He worked hard at 
his new profession and at the same time began to write the novels 
which made him famous. These stories have little or no sentiment 
but their humor and ridicule are turned against the vanity and 
hypocrisy which their author sees about him, and the attempt is made 
to paint a true picture of the time, showing men and women as they 
really are. 



Summarize the study of the section, using questions like the 
following: Which ballad in this section do you like best? 
Why? What do we mean by a ballad? Do you know of any 
other good ballads which the class would enjoy hearing read? 
If you do, bring them to class. 

Have a program consisting of the ballads in this section and 
others which the pupils may bring in. Let the boys work up 
and read "The Baron's Last Banquet," "The Charge of the 



THE WORLD OF WORK 267 

Light Brigade," "Yanks," "The Fox Hunt," and others that 
they may select. "In School Days," "The Wreck of the Hes- 
perus," "King Canute," "The Battle of Blenheim," and others 
may be given by the girls. " 'Tis the Last Rose of Summer" 
and "The Harp that once through Tara's Halls" may be given 
as songs. 

SECTION IV — THE WORLD OF WORK 

Introduction: What industries are carried on in your neigh- 
borhood, town, or city? Why do most people have to do some 
kind of work ? Has any person who is well and strong the right 
to live without doing any work whatever? Why or why not? 

Have some good reader read the introductory paragraph on 
page in. Ask the class to name some of the ways in which 
other people work for us. Suggest that they should consider 
the following questions : What work are you planning to do for 
the world when you have completed your education? Have 
you talked with any older people about the opportunities and 
possibilities in the field of work which you are thinking of 
choosing ? 

THE STORY OF THE RAILROAD (p. 113) 

This selection is to be used as a test. See directions for giv- 
ing tests, pages 13-17, Manual. 

Introduction: Why are railroads so important to a com- 
munity? What railroads serve your community? Railroads 
have existed in America for less than a century. How were 
goods transported before that time? Suppose that every train 
in the country should stop running for a month. How would 
it affect you? The first railroads in our country were very 
primitive affairs. Let us read about these early railroads and 
their development. 



26S SIXTH YEAR 

Conduct a two-minute test in the usual manner, using the 
following questions : 

i . Where and for what purpose were the first tramways used ? 

2. On what kind of roads did the first steam carriages travel? 

3. Where was the first trial of steam on a railroad made? 

4. Why did George Stephenson at the age of eighteen become so 
eager to learn to read? 

5. How many miles an hour did Stephenson propose to make his 



After the questions are answered, the words counted, and 
the papers handed in, have the class carry out the suggestions 
at the end of the selection. Have the class make a poster 
showing the development of the locomotive. 

The following words should be pronounced and defined : in- 
genious, experimenters, myriad, perfected, benefactors. 

THE STEAMBOAT (p. 116) 

This selection is to be read silently, for the information it 
contains. 

Introduction : It is hard for us to realize in these days of rapid 
travel by rail and steamboat that at the beginning of the last 
century neither of these methods of travel was in use. How 
did people travel at the beginning of the 19th century? Do 
any of you know when and where the steamboat made its first 
trip in America? Read the selection and find out. See if 
you can complete the reading in three minutes or less. 

Have the class answer the following questions and those at 
the end of the selection : How many miles per hour did the first 
steam vessels travel? How does this rate compare with that 
of the fast ocean liners of to-day? Why was the invention of 
the steamboat so important? 

Suggest that the class make a poster showing the develop- 
ment of the steamboat. 



THE WORLD OF WORK 269 

THE CORN SONG (p. 118) 

This selection is to be read orally for its poetical presentation 
of a phase of industry, and should be memorized. 

Introduction: Who is the author of this poem? WTiat other 
poems of Whittier's have you read ? What do you know about 
his life and writings? What is the title of this section of your 
Reader? Why should "The Corn Song" be included in this 
section? The most valuable crop produced in the United 
States is corn. Its value is greater annually than the combined 
values of all the gold, silver, and precious metals mined in the 
country in the same time. Only a small part of the corn raised 
is exported to other countries. What is done with it? The 
great bulk of our corn crop is used as food for cattle and hogs. 
A small amount is used directly as human food. In what forms 
do people use corn? Answer the questions in notes 1 and 2, 
page 119. Corn has always played an important part in our 
farm life. The Indians taught the early New England colo- 
nists how to grow corn, and during the entire colonial period corn 
was an important food product. Had it not been for corn, many 
of our early settlers would have died of starvation. Do you 
wonder that Whittier was inspired to write a poem about it ? 

Read the poem to the class, and use study questions and 
suggestions like the following: The first three stanzas are a 
song of joy for this priceless gift. Read them silently. To 
what do we usually apply the word "hoard"? Give facts to 
show that Whittier was right in saying 

" No richer gift has Autumn poured 
From out her lavish horn." 

Autumn is sometimes represented as a woman pouring out 
from a large horn, the Horn of Plenty, or cornucopia, fruits, 
grains, and vegetables. Read the lines which suggest this. 
What three fruits are mentioned in the second stanza? In 
what lands do they grow ? What might you have said in place 



270 SIXTH YEAR 

of "Let other lands, exulting, glean"? Which is more impor- 
tant, corn or the fruits mentioned in the second stanza? Why? 
What does Whittier say about the corn in stanza 3 ? (Have a 
good reader read stanzas 1, 2, and 3 orally.) Read (a) the 
stanza which tells us how the ground is prepared, (b) the one 
telling about the planting. How did the farmers frighten the 
crows away? Have you ever seen scarecrows in a cornfield? 
How were they made, and how did they look? Read the part 
that tells about the growth of the corn (a) in June, (b) in July 
and August. What is the "soft and yellow hair" of the corn? 
When and how is corn harvested? Read the stanza that tells 
about it. This song expresses great joy. We might say that 
it expresses exultation. How many of you can read the whole 
poem to the class bringing out this feeling ? 

After the poem has been read two or three times, let- the class 
see how much of it they can repeat. Continue the memoriza- 
tion as outlined on pages 47-51, Manual. 

For biographical sketch of Whittier, see page 231, Manual. 

A WORD ABOUT COTTON (p. 120) 

This lesson is to be read silently for the information it con- 
tains. 

Introduction: What is the title of our selection to-day? For 
what is cotton used? In what part of the United States does 
cotton grow ? Why is it not grown in the North ? The United 
States grows about three fifths of the cotton of the world. 
Egypt and India also grow a large amount. Have you ever 
seen a cotton boll? The boll is really the seed pod, and it 
contains the cotton. (Show pictures, if possible, of cotton grow- 
ing, being gathered, etc. Most geographies contain good illus- 
trations.) Let us read this selection silently and see what we 
can find out about cotton. Time yourself and complete the 
reading if possible in four minutes or less. When you have 



THE WORLD OF WORK 271 

finished the reading see if you can answer the questions on 
page 123. 

After the class have had a little time to look over and think 
about the answers, have them discuss the lesson, following the 
topical outline given, and answer the questions. 

For biographical note, see page 121, Manual. 

THE STORY OF THE REAPER (p. 124) 

This selection is to be read silently for the information it 
contains and for correlation with English and art work. 

If the children have ever seen a field of ripened wheat or 
watched harvesting done let them describe briefly their im- 
pressions. If not, bring in pictures of harvest scenes and 
have the children search for others. Most geographies con- 
tain such pictures. Have at hand also pictures of harvesting 
scenes in early days, and interest the class in finding others. 
Get the pupils to tell what they know of old-fashioned harvest- 
ing, and have them point out some of its disadvantages. Let 
them answer questions 5 and 6, page 132. Explain that the 
invention of the reaper made it possible for the farmer greatly 
to increase his production of grain, and suggest that this selec- 
tion will tell how and why. 

Have the class read the selection through, as rapidly as they 
can without missing the thought. They should be able to fin- 
ish the reading in about ten minutes. When they have read 
through the selection, have them make an outline as suggested 
in note 1, page 132, keeping their books open for reference 
when necessary. As this outlining may take more than one 
period, correlate it with the work in English. After all the 
pupils have finished their outlines, compare them topic by topic. 
Place the best headings on the blackboard and have the class 
give the main points under each. Let the class make a poster 
showing old and new methods of harvesting. 



2 7 2 SIXTH YEAR 

The following is a model outline : 

i. The value of wheat to civilization. (Paragraph i.) 

2. Early methods of reaping. (Paragraphs 2-5.) 

3. The effect of the steam engine. (Paragraphs 6 and 7.) 

4. The efforts of the McCormicks. (Paragraphs 8 and 9.) 

5. The public sees the reaper at work. (Paragraphs 10-19.) 

6. First sales. (Paragraphs 20-24.) 

7. Further improvements. (Paragraphs 25-36.) 

8. Result attained. (Paragraph 37.) 

9. Final improvement. (Paragraph 38.) 

10. Importance of the invention. (Paragraph 39.) 

Have these words pronounced and explained : parallel, 
satisfactorily, patented, swath. 

Biographical note. — Frank P. Bachman (1871- ) is an Amer- 
ican educator. He was born in Mackinaw, Illinois, and studied at 
American and foreign universities. He has had an extensive experi- 
ence in American public schools and has published several books on 
elementary education. He lives in Montclair, New Jersey. 

THE FISHERMEN (p. 133) 

This poem is to be read orally, for appreciation of the phase 
of industry it describes. 

Introduction: What is the title of this selection? What do 
you know about deep-sea fishing? What famous fishing re- 
gions are near the United States? Find on the map the Banks 
of Newfoundland, also Labrador. What kinds of fish are 
caught there? What are some of the dangers that the fisher- 
men encounter ? The fishing vessels go out to these banks and 
stay for months, the men going out every day to fish from small 
boats, and coming back to their vessels at night. As these 
banks lie in the path of passenger traffic to Europe both boats 
and vessels are frequently run down by fast steamships in the 
dense fogs which prevail in this part of the Atlantic. Imagine 
that you are leaving one of the fishing towns of New England, 



THE WORLD OF WORK 273 

say Gloucester or Marblehead, to go on one of these fishing 
trips. 

Read the poem to the class and conduct further study some- 
what as follows : What lines in the first stanza give you a distinct 
feeling of the sea? Read the stanza that describes the scene as 
you get out into the bay. As you get out of sight of shore, 
you begin to think of the region to which you are going. What 
is said about this region in the third stanza? Gannets are sea 
birds, closely related to ducks, geese, and pelicans. They nest 
along the rocky shores of Labrador. Murre are sea birds re- 
lated to the auks ; their flight is here compared to that of low- 
lying clouds, or scuds, driven swiftly by the wind. "Brador" 
is an abbreviation of Labrador. Read the stanza that de- 
scribes the dangers of the region to which your boat is going. 
What kind of fish is your boat after? Read the stanza that 
tells about the fishing. With what thought does the poem 
close ? Answer the questions on page 134. 

Close the lesson by having a good reader read the poem. 

Captains Courageous, by Kipling, gives a most interesting 
account of deep-sea fishing. It is the story of a spoiled boy 
who fell from an ocean steamer and was picked up by one of 
these fishing vessels and compelled to go to work. Boys will 
greatly enjoy this book. One of the reading clubs might use 
it. Longfellow's "Sir Humphrey Gilbert" may also be read 
to or by the class, for its picture of the icebergs and for Sir 
Humphrey's words to his men, which recall the last stanza of 
this poem. 

For a biographical sketch of Whittier, see page 231, Manual. 

MAPLE SUGAR (p. 135) 

This selection is to be read silently, for the information it 
gives. 

Introduction : How many of you have ever eaten maple sugar ? 

S.H.R. MAN. 4-5-6 — 18 



274 SIXTH YEAR 

Of what is it made? Have any of you ever seen it made? 
Have you ever made it? If you have, tell us about it. Read 
the selection silently to see how many new facts you can learn. 
Try to complete the reading in less than four minutes. 

Have the notes on page 138 discussed, and the questions 
answered. The class should pronounce and explain the follow- 
ing : elm, troughs, crystallize, horizontal, induced, galvanized, 
film, evaporator. 

Biographical note. — J. G. Dorrance is a publisher in Philadelphia. 
He was formerly connected with the Forestry Departments of New 
York and Maryland. 

BROTHERS OF THE WORLD (p. 139) 



This selection is to be used as a speed test. See directions, 
pages 13-17, Manual. 

Arouse interest in the selection by having the children dis- 
cuss briefly just how people in far-away countries are our 
brothers. Give the test in the usual way, making a two-minute 
study and counting half the number of words read as the 
rate. After answers to the following questions have been 
handed in, discuss and answer the questions on page 141. 

1. What are man's three great necessities? 

2. From where does our food come? 

3. Where may the wheat that made our bread have been grown? 

4. Where may the flax have grown which later became a linen 
collar ? 

5. What is said about the felt of the boy's hat? 

Have the class pronounce and define the following : criterion, 
Java, Sumatra, Argentina, kernels, Papuans, alpaca, plateau, 
mohair, Angora, Sahara, Amazon. 

For biographical sketch, see page 191, Manual. 



THE WORLD OF WORK 275 

THE PLOW (p. 142) 

This fine poem is to be read orally, for its pictures and its 
thought. 

Introduction: Why is the plow an important farming imple- 
ment ? Have you ever seen a farmer plowing ? (If the children 
live in the city, show a picture, if possible.) 

Read the poem to the class, and use the notes at the end of 
the selection as aids to study. Call attention to the color 
chord in the first stanza. Have the class notice how the colors 
are kept cold by the use of words like "grave," "pale." Have 
them notice the two comparisons in the poem, and ask them to 
suggest why it is appropriate to think of hope in connection 
with the plowman. Point out the force of "rigid" in line 13. 
Have the class pronounce and explain "colloquy" and "stal- 
wart." Masefield in his poem The Everlasting Mercy calls 
the plowman's work "the task of God." Let the class think 
over what similar thought they find in this poem. 

Biographical note. — Richard H. Home (1803-1884) was an Eng- 
lish poet and journalist, whose taste for adventure and travel led 
him to enter the Mexican navy and later to spend some years in 
Australia. He was a sympathetic critic of Keats, Tennyson, and Mrs. 
Browning, at a time when the work of these poets met with little 
approval. 



Review Questions: Which selection in this section do you like 
best? Why? What different industries have been discussed? 
Which do you think most interesting ? What have you learned 
from these readings? 



276 SIXTH YEAR 

SECTION V — EARLY DAYS IN AMERICA 

Discuss with the class when and where the first settlements 
were made in America, and what difficulties and hardships 
these early settlers had to meet. Have the introductory para- 
graph to this section read by a good reader and carry out as 
follows the suggestion it makes : What resolution are we asked 
to make? Why should we make such a resolution? Perhaps 
you would like to write this resolution in your book of memory 
gems and sign your name to it. Write it thus : 

/ resolve, like the American pioneers, to make my country even 
greater and better than it now is. 

If you think this a good resolution to make, sign your name 
underneath it. 

A STORY OF DETROIT (p. 145) 

This selection is for oral sight reading. Its interest depends 
on the narrative and on the historical setting. 

Have the class glance at the pictures on page 144, guess at 
the nature of the Indian girl's warning, then read the in- 
troductory note and the selection. 

Use the notes on page 147 as a basis for correlation with his- 
tory, study of the narrative, and research activities. Ask the 
class to pronounce and define : strategy, wampum, fantastic. 

PIONEER HOUSES (p. 148) 

This selection is to be read silently, for information. The 
reading should be completed in less than eight minutes. 

Introduce the lesson by a brief talk about pioneer houses, 
letting the pupils tell what they know about them. Then have 
the class read the selection. Test their grasp of the content by 
having them describe (a) a cave house, (b) a wigwam, (c) a 
log cabin and its furniture, (d) log-cabin homes of famous men, 



EARLY DAYS IN AMERICA 277 

(e) a pioneer schoolhouse, (/) the first brick houses. Make 
use of the notes on page 153 for further study material, and 
have the class make a poster of pictures of pioneer houses. 
For biographical sketch, see page 191, Manual. 

A TRUE HERO (p. 154) 

This selection is to be read silently, for its presentation of the 
pioneer as a hero. The reading should be timed, and should 
take about five minutes. 

Introduce the lesson by a class discussion of why the pioneer 
may be called a hero ; suggest that this selection will give some 
reasons. 

After the class have finished reading have them make a 
heading for each paragraph. Compare these and place the 
best ones on the blackboard as an outline. Then have the 
class tell the story, using the outline as a guide. The follow- 
ing headings are suggested : 

1. A typical pioneer. 

2. The journey to the Northwest. 

3. Buying a farm. 

4. Building a house. 

5. Dangers and hardships. 

6. The first year. 

7. New clearings in the forest. 

8. The work of the women. 

9. A Jack-of -all- trades. 
10. Early marketing, 
n. New comforts. 

Make use of the suggestions in the notes on page 158. 
Ask the class to pronounce and define: tow, beeves, lathe, 
caravan, withal, monotony. 

For biographical sketch, see page 105, Manual. 



278 SIXTH YEAR 

A TEA PARTY (p. 158) 

This selection is to be read orally for its narrative and his- 
torical interest. 

Introduction: What do we mean by a a tea party"? The 
tea party which we shall read about to-day disposed of a ship- 
load of tea. Read the story silently and find out how and why 
they did it. Glance through the selection again and list any 
words which you wish to have pronounced or explained before 
you read it orally. 

Study: Use the pupils' lists for pronunciation drill. Have 
one group read the sentences containing the words whose mean- 
ing can be got from the context, and then re-read substituting 
synonyms ; let another group find and list the meanings that 
must be looked for in the dictionary; a third group should 
consult histories to get additional facts about the Boston Tea 
Party, and give this information briefly to the class. The ques- 
tions and suggestions on page 160 suggest the outline of an 
orderly arrangement of these facts. 

After this study have the selection read orally. Tell the 
children to imagine as they read that they have been eyewit- 
nesses of this incident and are describing it to some friends who 
were not present but who are greatly interested. They should 
keep in mind the intense excitement that the Boston Tea Party 
caused at the time. 

Biographical note. — Samuel Adams Drake (1833-1905) was a 
native of Boston. His writings are mainly concerned with New 
England history, legend, and biography, and with colonial life. 

THE AMERICAN PIONEER (p. 161) 

This selection is to be read orally for its appreciation of the 
pioneer spirit. 

Read the explanatory note to the class and consult the bio- 
graphical note, page 236, for facts to give them in regard to 



EARLY DAYS IN AMERICA 279 

the author. Ask them to read the selection silently, in prepa- 
ration for oral reading later. 

Use the questions and suggestions on page 165 as a basis for 
study and appreciation of the content. Have the class pro- 
nounce and define the following words : prophets, mystical, 
prairie schooner, conquistadores, Ulysses, brackish, Titans, 
avalanche, wallowed, flail, ruthless, spectral, colonnade, nave, 
Rheims, Salisbury, materialist. 

Close the lesson by having the selection read aloud by a few 
of the best readers in the class. 

TRAVELING (p. 166) 

This selection may be used either for silent reading or for 
oral sight reading. 

Introduce the lesson by reading the explanatory note and 
asking questions like these : Why do not people travel by canal 
now? Would it be enjoyable? Why, or why not? Discuss. 

Let the class read the selection and study it for content 
and historical background, using the notes on page 174. Then 
have them read aloud bits of the story that they especially 
like, and watch out for the touches of humor. 

Have the following words pronounced and explained : trav- 
ersed, tandem, packets, alcove, host, parody, gang plank, 
complimentary, parenthetically, aqueduct, escorted, harts- 
horn, wafted. 

Biographical note. — Eva Wilkins, the author of The Weaver's 
Children, from which this selection is taken, is an American teacher 
in normal schools and colleges. The book is called " a true story " 
and gives a delightful account of industry, travel, and family life in 
the middle years of the last century. Contemporary records were 
carefully studied to insure its accuracy of detail. 



Review questions: Which story in this section do you like 
best ? Why ? Would you like to have been a pioneer ? 



2 8o SIXTH YEAR 

SECTION VI — DAYS WE HONOR 

Ask the class to name some of the days that we honor and to 
tell why we do so. Have the introductory paragraph read by 
some good reader and suggest questions like these : Of what 
do our holidays remind us? How should we think of them? 
How do we lose honor if we fail to give it where it is due? 
What days have selections assigned them in this section? 
Which selection belongs to each day ? 

It is suggested that these selections be reserved each for its 
own day instead of being read consecutively. 

COLUMBUS (p. 177) 

This selection is to be memorized. Its historical background 
is to be recalled and its main thought enforced. 

Introduction: Review briefly the events connected with Co- 
lumbus's first voyage to America. Trace his route on the map, 
and locate the Azores and the Strait of Gibraltar, incidentally 
referring to the latter as the " Gates of Hercules." Recall the 
superstitions of the time about the Atlantic Ocean as a Sea of 
Darkness inhabited by terrible monsters, and the belief that one 
might come to the end of the earth and drop off. Suggest 
questions like the following: Would it be easy to find a crew 
who would be willing to undertake such a voyage? Many of 
the crew were prisoners who were released to go with Columbus. 
What would they be likely to want to do after sailing for sev- 
eral days, if they saw no signs of land ? Would such a crew be 
easy to manage? They finally mutinied, that is, refused to 
obey orders, and Columbus promised to turn back if after a 
certain time no signs of land were seen. An American poet, 
Joaquin (wa-ken') Miller, himself a pioneer, and a great admirer 
of Columbus, has written a poem about this voyage. 

Read the poem to the class and study it with them as follows : 
When do you think the events of the first stanza took place? 



DAYS WE HONOR 281 

Who was the Admiral? What motive made the mate come 
to him ? What di'd the mate mean when he said that the stars 
were gone ? What answer do you think the mate wished Colum- 
bus to make? What was his reply? Read the stanza, making 
us see and feel the situation. What further arguments did the 
mate use? (Second stanza.) What tells you that the men 
were filled with fear? What question did the mate ask again, 
and what was the Admiral's reply? Read the stanza. What 
does the third stanza tell us about their continuing the voyage ? 
What line tells us that even the mate was pale with fear? 
What does he say that shows his fear? Complete the thought 
in the seventh line of this stanza, saying what you think the 
mate would have said. What reply did he again receive? 
Read the stanza. 

What arguments does the mate use in the fourth stanza? 
What was the one good word that he wanted the Admiral to 
say? What did the Admiral say? Read the stanza. Read 
the first four lines of the last stanza. Who kept his deck, line 
9? How was he rewarded? The discovery of America not 
only opened up vast material wealth to the nations of Europe, 
but led, by furnishing a new environment to old races, to the 
development of new racial types and new political systems and 
ideals. How does the poet tell us this? What do you under- 
stand by the last two lines? Read the stanza. 

Make use of the questions and suggestions under notes 3 
and 4 at the end of the selection, and continue the memoriza- 
tion in the usual way. (See " Memorization," pages 47-51, 
Manual.) Use this poem for a class recitation on Columbus Day. 

Biographical note. — Cincinnatus Heine Miller (1841-1913) was 
an American poet and journalist, born in Indiana. He went to Ore- 
gon in 1854, and for five years lived among the Indians of the Pacific 
Coast. He worked as a miner in California, practiced law, and did 
journalistic work. His poems and other writings were published un- 
der the name of Joaquin Miller. 



282 SIXTH YEAR 

ARMISTICE DAY (p. 179) 

This selection is to be read orally for appreciation of its dra- 
matic narrative. 

Introduction: What is Armistice Day? An armistice is an 
agreement between nations at war to stop fighting, usually with 
the idea of arranging terms of peace. When did the armistice 
occur which this selection describes ? What do you know about 
the events of that day in your locality? Read the selection 
and its explanatory note silently. Turn to the picture on 
page 176. What is happening? Notice the expressions on the 
faces of the people. Carry out the suggestions and answer the 
questions in the notes on page 181. Explain the difficult words 
listed or substitute synonyms for them, and then re-read the 
story orally. 

The following should be added to the list : detonation, routine, 
stolidity, veneration, Marseillaise. 

Before the oral reading, bring out the thought that in the first 
two paragraphs we have only the deadly monotonous routine of 
war. In the third and fourth paragraphs, we begin to feel that 
something exciting is about to happen, but are uncertain what 
it is. From the fifth paragraph on, the excitement increases 
to the climax at the end. 

Call upon several good readers to read the entire selection, 
trying to bring out the feeling of suspense, excitement, and joy. 

MRS. NOVEMBER'S DINNER PARTY (p. 182) 

This selection can be dramatized in large schools and will 
make an excellent number for the Thanksgiving program. In 
schools having two or more sixth-grade classes, it can be worked 
out as a sixth-grade project. In schools having only one class 
in a grade, it can be worked out as a school project. In small 
schools it may be used for oral reading only. For directions 
for dramatizing, see pages 33-39, Manual. 



DAYS WE HONOR 283 

Outline of Dramatization 

Scene I. The arrival of the guests. 

Scene II. The dinner. 

Scene III. The entertainment after the dinner. 

Characters 

Mrs. November and family : daughter, Thanksgiving ; son, Guy 
Fawkes ; two presidential candidates, and other children. 

Grandpa Time. 

Grandma Year. 

Mr. January with his sons, Happy New Year and Twelfth Night. 

Mrs. February and her children, Valentine, George Washington, 
and Leap Year. 

Sister March and her sons, St. Patrick, Windy, and Gusty. 

Mr. April with his son, April Fool, and his daughter, Easter. 

Aunt May and the little Mays. 

Mrs. June and her daughters, a "sweet girl graduate" and Mid- 
summer, and other children. 

Mr. July and his son, Independence Day. 

Madam August and her children, Holiday, Vacation, and others. 

Uncle September with his son, Equinox, and other children. 

Mrs. October ; All Hallows, her youngest child ; and Miss Frost, 
his nurse. 

Mr. December and his daughter, Merry Christmas. 

Winter, Spring, Summer, Autumn, and Indian Summer. 

About forty-five characters are needed and more may be used 
as children of the months. Divide the sixth-grade class into 
three groups and let each group plan and write one scene of 
the play. After deciding which grades shall take part, have 
committees appointed to make all arrangements and look after 
all details. It may be well to have the chairman of each com- 
mittee and one or more of its members from the sixth grade, 
in order to keep the work centralized. Let the class decide 
what committees are needed and just what the duties of each 



284 SIXTH YEAR 

committee shall be. Make these discussions serve as training 
in oral English. If parents or other grades are to be invited, 
have the class write notes of invitation and make posters for 
the halls announcing the play. Let the children do the work. 
Make it an occasion for developing in the pupils initiative, the 
ability to cooperate, and the sense of responsibility. 

Point out to the class that much of the interest of this play 
to the audience will depend on the skillful bringing out of the 
humorous touches ; for instance, Aunt May's " moving " tale ; 
" the little Aprils, who cry very easily " ; and September's 
trouble in " making . Equinox toe the line." 

Careful reading will be necessary, to get all the points that 
may be made, and some discrimination must be used in deciding 
which to include. 

A THANKSGIVING (p. 188) 

This selection is to be read orally for its expression of thank- 
fulness for simple things. 

Introduction: We sometimes feel that we have very little to 
be thankful for because our possessions are such ordinary ones 
— shelter, fire, food, happiness. Listen to this thanksgiving for 
common things. 

Read the poem to the class and have them answer the ques- 
tions on page 189. Study the content as follows : Read the 
parts of the poem that tell you that this person lived a very 
simple life ; that he slept well ; that he was hospitable ; that 
he was happy; that he tilled the soil. What return does he- 
think he should make for his happiness and comfort? Let the 
poem itself give its message to the class ; do not talk away its 
delicate spirit of thankfulness, or attempt to moralize. 

Biographical note. — Robert Herrick (1591-1674) was an English 
poet, a graduate of Cambridge, and during most of his life vicar of 
Dean Prior, a small village in Devonshire. There he lived in simple 



DAYS WE HONOR 285 

comfort, wrote his poems, and watched the life of the old-fashioned 
secluded village. Herrick's poems are short lyrics ; love, the spirit 
of country life, fairy fancies, religious feeling, are briefly expressed in 
them with a warmth and tenderness that belong to the great Eliza- 
bethan age which had just ended when he wrote. 
He said himself : 

I sing of brooks, of blossoms, birds, and bowers, 

Of April, May, of June and July flowers ; 

I sing of May-poles, hock carts, wassails, wakes, 

Of bridegrooms, brides, and of their bridal cakes ; 

I write of groves, of twilights, and I sing 

The court of Mab, and of the Fairie-king. 

CHRISTMAS EVE IN NORWAY (p. 190) 

This selection is to be used as a test for speed and thought 
getting. See directions for giving test, pages 13^17, Manual. 

Introduction: What are some of the things that we do on 
Christmas Eve? The people in Norway celebrate Christmas 
Eve very differently. Let us find out what they do. 

Test in the usual way, using the following questions : 

1. What do the men do with the load of firs which they get on the 
mountain side ? 

2. What Christmas present do the birds receive? 

3. Where do the children get the gifts for the birds? 

4. Who feeds the cattle and horses on Christmas Eve ? 

5. Upon what do the children sleep on Christmas Eve? 

After the test is completed, discuss the selection, using the 
questions on page 192 to stimulate thought. 

CHRISTMAS IN MERRY ENGLAND (p. 193) 

This selection is to be read orally, for its picture of a medi- 
eval Christmas and its references to ancient customs. 

Introduction: How is Christmas celebrated in Norway now? 



286 SIXTH YEAR 

This selection from a poem by Sir Walter Scott begins by tell- 
ing how the ancestors of the present people of Norway kept 
their Yuletide, or midwinter feast. These were the fierce 
Vikings, of the same race as the Danes who invaded England 
and Scotland. In early times they were pagans and their Yule- 
tide feast, to celebrate the longest night in the year, was con- 
nected with their myths about the sun. They used to build 
great fires in the pine forests and dance wildly about them. 
The Yule log, the mistletoe, and the idea of feasting as asso- 
ciated with Christmas, all come down to us from very ancient 
times and were connected with forgotten beliefs. The poem 
goes on to tell about Christmas in the Middle Ages and 
has an interesting reference to the maskers, who were boys 
going about from house to house to sing carols ; this custom 
probably came from the old mystery plays, in which events 
described in the Bible were acted out. 

Read the poem to the class and let them study the questions 
on page 195, reading, wherever possible, selections from the poem 
as answers. Encourage them to ask about any word or line 
they do not understand. 

Have the class pronounce or explain the following: cheer, 
mead, galleys, decked, half-dressed, sable, rite, damsel, kittle, 
sheen, mistletoe, vassal, serf, underogating, vulgar, brawn, green- 
clad ranger, bays, rosemary, baiting, garnished, trowls, high- 
tide, savory, lists, mumming, masquerade, visors, dight. 

Close by having the poem read by a good reader. Have the 
class close their eyes and try to visualize each scene as it is read. 

For biographical sketch, see page 230, Manual. 

THE SILVER SHIP (p. 196) 

This selection may be used either for oral sight reading or 
for silent reading. After the reading have the class answer the 
questions on page 201. 



DAYS WE HONOR 287 

WASHINGTON'S BIRTHDAY (p. 201) 

Have this poem read aloud by a good reader, and let the class 
name some of the reasons why we observe Washington's birth- 
day. Use the questions on page 202 to bring out the thought 
of this poem. 

The class should be able to explain the following words : 
natal, amain, tocsin. 

Biographical note. — Margaret E. Sangster (1838-1912) was an 
American editor and author. She wrote books for girls and several 
volumes of verse, and was for ten years editor of Harper's Bazar. 

THE PLANTING OF THE APPLE TREE (p. 203) 

This selection is to be read orally, for its pictures. 

Study questions : Read the introductory note. The first stanza 
tells how the apple tree was planted. Read it. The sec- 
ond, third, and fourth stanzas tell what really was planted 
— that is, the things this planting could be expected to bring. 
Read them. What things are mentioned in the second stanza? 
In the third? In the fourth? Stanzas five and six tell 
where and how the fruit of the tree will be eaten. Read them. 
The next tells of the time when the poet and those who planted 
the tree will no longer live. What does it say? What is said 
about the old age of the tree in the eighth stanza? What 
question may the children many years later ask and how may 
it be answered ? Use the suggestions on page 206 for summing 
up the thought. 

Close the lesson by having the poem read by a good reader. 

For biographical sketch, see page 104, Manual. 

TREES (p. 206) 

This poem is to be memorized. Bring out the idea of the 
tree as beautiful and wonderful. Have, if possible, several 
pictures of fine trees. 



288 SIXTH YEAR 

Introduction: Why do we like trees? Have you ever been 
in a region in which there were no trees? Did you like it? 
Joyce Kilmer, an American poet who was killed in the World 
War, wrote this poem about trees. 

Read the poem to the class, and lead the discussion as follows : 
Do you like this poem ? What thought or picture in it did you 
like best ? How does the tree get its nourishment ? How does 
the poet express that thought? In what directions do the trunk 
and the limbs of a tree grow? How does the poet say this? 
How does he tell you that birds build their nests in trees ? What 
happens to trees in winter? Have you ever seen a snow- 
covered tree ? Do trees grow where there is no rainfall ? What 
does the poet say about the snow and the rain? 

Have the poem read several times and memorized in the usual 
manner. (See pages 47-51, Manual, for directions for memo- 
rizing.) 

Biographical note. — Joyce Kilmer (1886-19 18) was born in New 
Brunswick, New Jersey. He was doing journalistic work in connec- 
tion with The New York Times, the Literary Digest, and other im- 
portant periodicals at the time of the World War, but when the 
United States entered the struggle he at once enlisted as a private. 
He was killed in action in France on July 30, 191 8. His writings 
include several volumes of verse. 

THE BLUE AND THE GRAY (p. 207) 

This poem is to be read orally. Read the poem and its ex- 
planatory note to the class, or have some good reader do so. 
Use the notes on page 209, as a basis for study. Close the les- 
son by having the poem read by good reader. 

Biographical note. — Francis Miles Finch (1827-1907) was an 
American jurist, dean of the law school of Cornell University. His 
other well-known poem is " Nathan Hale." 



DAYS WE HONOR 289 

THE FALLEN HEROES (p. 209) 

Have some good reader read the stanza aloud and let the 
class decide what heroes are referred to in it. 

DEDICATION OF GETTYSBURG CEMETERY (p. 210) 

This selection is to be memorized. It is valuable as a 
model of good prose, a concise expression of an important pol- 
icy, and a characteristic utterance of a great man. 

One of the best approaches to this address is through Mary 
Shipman Andrews's little book, The Perfect Tribute, of which 
every school should have a copy. Read this story in sections 
to the class, previous to the study of this selection. The book 
can be read aloud in a little over an hour. If circumstances do 
not permit reading the book, begin by giving the class the facts 
in the introductory note and note 1 , page 211. Have Gettysburg 
located on the map. 

Read the selection through to the class, then take it up sen- 
tence by sentence. Re-read the first sentence to the class, 
and go on with the study somewhat as follows : To what event 
does this sentence refer? The Declaration of Independence 
was made in 1776, this speech in 1863 ; how many years had 
elapsed? How is this expressed by Lincoln? What new na- 
tion was brought forth in 1776? For what were the people 
fighting in 1776? (Liberty.) The Declaration of Independ- 
ence states the belief that "all men are created equal." What 
reference to this belief in equality does Lincoln make in the 
first sentence? 

Have several children read this sentence and the next, and 
state briefly the thought of the second sentence. Have the 
whole paragraph read several times, and continue as follows : 
Now look at the second paragraph. Where had this assembly 
of people met? Why had they met there? What does Lin- 
coln say about their purpose? (Have the paragraph read 

S.H.E. MAN. 4-5-6 — 19 



2 9 o SIXTH YEAR 

several times.) What does Lincoln say in the first sentence of 
the third paragraph about dedicating the ground? What dis- 
tinction in meaning is there in the words "dedicate," "con- 
secrate," and "hallow"? Who had already consecrated it? 
(Sentence 2.) What does he say in the last sentence of the par- 
agraph? (Have the paragraph read several times.) In the fourth 
paragraph Lincoln tells his hearers what they should do instead 
of dedicating the ground. What does he say in the first sen- 
tence? Read the second sentence, section by section, telling 
what is meant by each phrase. Read this last paragraph two 
or three times. 

Close the lesson by having the address read as a whole. 

The next day talk briefly about this address, telling the 
children that it is considered one of the great speeches of his- 
tory. Then continue the memorization in the usual manner. 
(See pages 47-51, Manual.) 

Biographical note. — For a sketch of Lincoln's career up to the 
time of the repeal of the Missouri Compromise, use the selection on 
page in, Story Hour Readings, Seventh Year. 

The famous Lincoln-Douglas debates in 1858 ended in Douglas's 
election as senator, but gave Lincoln the prestige that helped to win 
him the presidency in i860. Lincoln's term of office as President was 
made hard not only by the problems of the war but by discontent 
and opposition in his own party and even in his cabinet. All his 
great tact, firmness, political skill, fairness, and knowledge of human 
nature were needed for his task. His speeches as President are fine 
examples of simple, energetic, eloquent English. 

The quotation at the bottom of page 211 is from Lincoln's 
Second Inaugural Address, delivered in Washington, March 
4, 1865, about six weeks before his death. Read it to the class 
and have them discuss what characteristics of Lincoln are re- 
vealed in it, and what these qualities have to do with his place 
in history. Let the class memorize it, after they have finished 
the Gettysburg Address. 



TWICE-TOLD TALES 291 

FLAG O' MY LAND (p. 212) 

This selection is to be used for Flag Day, and memorized. 

Introduction: Why do we love our flag? Why should we 
be thinking more than usual about our flag to-day? What 
poems about the flag do you know? 

Read the poem to the class, and have them answer the ques- 
tions at the end of the selection. Have the poem read two or 
three times by good readers, and continue the memorization in 
the usual way. (See pages 47-51, Manual.) 

Biographical note. — Thomas Augustine Daly (1871- ) was 
born in Philadelphia. He is a journalist and lecturer and has pub- 
lished several volumes of verse. His home is in Germantown, Penn- 
sylvania. 

Summarize the section, using questions like the following : 
Which poem did you like best in this section ? Which prose 
selection? Can you give the reason for your choice in each 
case? 

SECTION VII — TWICE-TOLD TALES 

Introduction : What characteristic must a story have in order 
to be told over and over again? What kind of tales do you 
expect to find in this section? Glance at the titles. Do they 
look interesting? What does Sir Philip Sidney say about inter- 
esting tales ? Read the introductory stanza. To what sort of 
tales does Sir Walter Scott refer? Let the class read this sec- 
tion purely for pleasure. 

THE YOUTH WHO COULD NOT LIE (p. 215) 

Use this story for oral sight reading. 

Introduction: Look at the picture on page 214. Who are 
these people ? What do you think is happening ? Let us read 
the story and find out. 



2 9 2 SIXTH YEAR 

Have the class answer the questions on page 221. Ask them 
to refer to the amusing situations in the story and to point out 
in what ways Swen's not being able to lie was an embarrass- 
ing quality for him ; they should also appreciate the fact that 
it won him his good fortune. 

The following words should be pronounced and explained : 
bestow, peasant, placards, Lord Chamberlain, perspiring, 
gorgeous. 

THE ARAB AND HIS HORSE (p. 222) 

This story is to be read silently and retold. 

Read to the class note 1, page 223, and then let them read 
the selection silently as a preparation for retelling. In discus- 
sion refer the class to note 2, page 223, and let them find and 
read " The Arab's Farewell to his Horse," by Mrs. Norton. 

The following words should be pronounced and explained : 
caravan, Damascus, escort, captors, thong, pasha. 

THE PRINCESS' ESCAPE FROM THE GOBLINS (p. 223) 

This story may be used for oral reading or for dramatization. 
Let the class read it to decide whether or not it is a good one for 
them to dramatize. If they think it is, let them select the 
scenes to be given, find what characters take part, and go on 
with the dramatization in the usual way. Correlate this ac- 
tivity with the work in English. Divide the class into groups 
and let each group be responsible for writing and producing 
one scene. Have the class use the notes on page 235 as an aid 
in dealing with this story. Unless their play brings out the 
idea that only the person who is not afraid of goblins can drive 
them away, it will miss the main point. 

The following words should be pronounced and defined : 
gnomes, kobolds, severity, misshapen, devise, impertinence. 

For biographical sketch, see page 198, Manual. 



TWICE-TOLD TALES 293 

THE SPIDER AND THE FLY (p. 236) 

This selection is to be read at sight, orally. 

Introduction: What do spiders do with flies? How do they 
catch them ? Why do you suppose the flies go into the spiders' 
webs? This poem is a fable, with a spider and a fly as char- 
acters. 

Let the class read the poem, answer the questions on page 
238, and pronounce and define these words : gauzy, subtle, 
wily. The following additional questions will be useful : What 
part of the spider's web is the winding stair? What part 
is the little bed? What was in his pantry? Do people ever 
get caught as this fly did ? Explain. 

Biographical note. — Mary Howitt (1 799-1 888) was an English- 
woman, the wife of William Howitt, like herself a Quaker and a 
writer of prose and verse. Besides her original work, she made a 
translation into English of Hans Andersen's Tales. 

THE IMAGINARY BANQUET (p. 238) 

Have the class read this selection silently. Then let them 
read it once or twice as a dialogue, and finally have it acted. 
The following words should be pronounced and defined : Schac- 
abac (shak'a-bak), acquitted, address, access, Barmecide. 
Have the class read the note on page 241, and refer them to 
other stories in the Arabian Nights ; for instance, " Sinbad 
the Sailor," " Aladdin," and " Prince Ahmed." 

THE PINE-TREE SHILLINGS (p. 241) 

This selection is to be read silently; "the reading should be 
completed in less than five minutes. 

Introduction: Who coins our gold and silver money? In 
colonial days it was done on a much smaller scale than nowa- 
days. This story will tell you about the coining of money in 
Massachusetts, and also about a girl who was worth her weight 



294 SIXTH YEAR 

in silver. Read the story silently. You should complete it in 
less than rive minutes. 

Have the class discuss and answer the questions on page 
245. Let them pronounce and explain the following : specie, 
tankards, bullion, peony. 

Ask the class to picture to themselves the people in this story 
— Betsey, her father, and Samuel Sewall ; the Puritan wedding 
guests and minister ; the colonial house and its furniture. Let 
them read Grandfathers Chair for themselves, and see how 
Hawthorne weaves stories of colonial times about an old arm- 
chair. 

For biographical sketch, see page 155, Manual. 

THE CAT'S PILGRIMAGE (p. 246) 

This selection is to be used for oral sight reading. 

After the reading, have the class discuss and answer the ques- 
tions at the end of the selection. Suggest the following in ad- 
dition : What do you think of the bird's criticism of the cat? 
Of the ox's? Of the bee's? Suppose the cat is a well-read, 
well-to-do, idle young man ; what do the other characters 
stand for? Did any of the advice she got solve the cat's prob- 
lem? Pronounce and explain: placidly, munched, drone, in- 
tervening, philosophy. 

Biographical note. — James Anthony Froude (1818-1894) was an 
English historian of the nineteenth century. 

SOLOMON AND THE BEES (p. 255) 

This selection is to be read orally for its story. 

Introduction: Solomon, you will remember, was one of the 
kings of the Hebrew nation. He was called the wisest man of 
his time, and the Queen of Sheba (a part of Arabia) heard of 
his wisdom and came to visit him and " prove him with hard 
questions." When she saw his splendor and heard his wisdom, 



TWICE-TOLD TALES 295 

she said that the half had not been told her, and went home 
with " the spirit gone out of her." This poem tells about one 
of the events of her visit. 

Read the poem to the class or have it read by a good reader. 
Let the class tell briefly the story of this test of Solomon's 
wisdom. Make use of the notes and questions on page 256. 
Tradition says the queen's name was Balkis ; refer the class to 
Kipling's poems about her and about Solomon in his Just-So 
Stories. 

Close the lesson by having the poem read aloud. 

The following words should be added to the list on page 256 : 
wont, piqued, transparent, sage, culled, fain, liege, trivial, 
casement. 

For biographical sketch, see page 178, Manual. 

KING ROBERT OF SICILY (p. 257) 
MOTH AND RUST (p. 265) 

Divide the class into two groups and let each prepare one of 
these selections, for reading to the other. In preparation for 
the oral reading, let each group read its story silently and make 
a list of unfamiliar words for pronunciation and explanation. 
Give any needed assistance, but have a leader appointed for 
each group and let the children work out their own plan of 
procedure as far as possible. Hold each group responsible for 
making any needed explanations and also for discussing and 
answering the questions at the end of its own selection. 

Read Longfellow's "King Robert of Sicily" to the class. 

Biographical note. — Leigh Hunt (1784-1859) was an English es- 
sayist, journalist, and poet. He was a charming essayist, a sympa- 
thetic and discerning critic, and a skillful and artistic writer of 
narrative verse. His liberal views, his journalistic talent, and his per- 
sonal charm made friends for him of some of the most brilliant men 
of his time — Keats, Shelley, and Byron, Moore, Lamb, and Hazlitt 
among the rest. A Jar of Honey from Mount Hybla from which 



2 g6 SIXTH YEAR 

this story is taken is a collection of translations from the pastoral 
poetry of Sicily. " Abou Ben Adhem," Sixth Year, page 347, is 
perhaps his best-known poem. 

For a note on Louise Chollet, see page 83, Manual. 

THE MICE AND THE WEASELS (p. 272) 

Study: Read this fable silently. Who wrote it? What do 
you know about ^Esop? What is a fable? What lesson does 
this fable teach? Pronounce and define: waged, perpetual, 
discipline, tactics, challenging, conspicuous. Write a short 
rimed version of this story. 

For biographical sketch, see page 112, Manual. 



Suggested Questions: Which selection in this section did you 
like best? Why? What characters in these stories do you 
remember? Which did you find most interesting? Mention 
an incident that you recall vividly. 

SECTION VIII — A LITTLE LAUGHTER 

Let the class glance rapidly through this section, noticing the 
picture and the titles of the selections. Have the introductory 
paragraph read by a good reader. Ask questions like the 
following : What does Shaftesbury say about humor and seri- 
ousness ? Be on the lookout, during the next week, for a good hu- 
morous anecdote. Read it and tell it until you can tell it well, 
and then tell it to the class when we finish reading this section. 
The Youth's Companion, the Literary Digest, and many other 
papers have good humorous columns. 

A DUTCH GOVERNOR (p. 275) 

Introduction: Look at the picture on page 274. Which one 
is the governor? What sort of incident does the picture sug- 
gest to you ? 



A LITTLE LAUGHTER 297 

Read the explanatory note and the first paragraph of the 
selection to the class, and have the rest of the selection read si- 
lently. Let any pupil who wishes read to the class any part of 
the selection that seems humorous to him. Ask some one to read 
the sentence which the picture seems to illustrate. Have the 
class answer the questions at the end of the selection. 

The following words should be pronounced or explained as the 
case may require: Diedrich (ded'rik), Wouter (wow'ter) van 
T wilier, burgomasters, magistracy, comported, dunderpate, 
casual, propounded, capacious, illustrious, statuary, stupen 
dous, oblong, infallible, magnitude, firmament, toll, appropri- 
ating, theories. 

Biographical note. — Washington Irving (1783-1859) was born in 
the city of New York, which at that time still had much of the pic- 
turesque atmosphere of its early days as New Amsterdam. He 
studied law but made little attempt to practice his profession. He 
had already begun to write for newspapers when he was nineteen, 
and after a two years' trip abroad he started a semi-monthly maga- 
zine modeled on Addison's Spectator. 

The book from which this extract is taken was published in 1809, 
and the famous Sketch Book appeared ten years later, while Irving 
was in London on business for his brother's firm. In the next dozen 
years he wrote more essays, a history of Columbus, and his Conquest 
of Granada and The Alhambra, romantic accounts of the Spanish 
struggle against the Moors. 

Except for the four years during which he was American minister 
to Spain, Irving spent the remainder of his life at Tarrytown, near 
the places made famous in his " Legend of Sleepy Hollow." 

Irving was the first American author to win real recognition abroad. 
His Knickerbocker's History of New York is a mixture of history, 
legend, and humor, a deliberate and successful attempt to create a 
historical atmosphere for his native city. The Sketch Book is a group 
of essays and stories somewhat in the style of Addison or Goldsmith, 
but distinguished by two remarkable pieces of work — " The Legend 
of Sleepy Hollow," a fine piece of atmosphere creation, and " Rip 



298 SIXTH YEAR 

Van Winkle," a character study which is unequaled in American 
literature. 

Other selections by Irving in Story Hour Readings are " Tea Par- 
ties in Old New York," Seventh Year, page 70 ; " The Schoolmaster's 
Ride," Seventh Year, page 291 ; letters on pages 126 and 130, Eighth 
Year; "Reception of Columbus," Eighth Year, page 263 ; and "Rip 
Van Winkle," Eighth Year, page 331. 

THE TWINS (p. 278) 

Have the poem read orally at sight. Refer the class to the 
note on page 279, and ask questions like these : What were some 
of the humorous situations in which this twin found himself? 
Were there any that were not humorous to him ? What is par- 
ticularly absurd about lines 23 and 24, page 278? What have 
lines 15 and 16, page 278, to do with lines 19 and 20, page 278, 
and lines 7 and 8, page 279? 

Biographical note. — Henry Sambrooke Leigh (1837-1883) was an 
English writer of humorous verse. 

HOW TO TELL BAD NEWS (p. 279) 

Ask the class to read this selection silently in order to drama- 
tize it. Then have it read orally several times by different 
pairs of children, the rest of the class acting as audience as each 
pair reads. After several readings have it given from memory. 

HANGING A PICTURE (p. 281) 

This selection is to be read silently, as a preparation for 
dramatization. 

Introduction: Have any of you ever tried to hang a picture? 
What difficulties did you encounter? Do you like to have 
many people helping you while you work? Read this selection 
and rind out what difficulties this man had in getting things 
done. 



A LITTLE LAUGHTER 299 

After the silent reading let the class discuss the possibili- 
ties of this selection for dramatization, and decide on charac- 
ters, scenes, action, and humorous point to be emphasized. 
Make sure the class realize that the absurdity lies in Uncle 
Podger's unconscious fussiness and his insisting on everyone 
helping. Divide the class into groups and let each group work 
out and give the dramatization with the other pupils as audi- 
ence. Use the questions and suggestions on page 284 to sug- 
gest additional humorous background. 

Biographical note. — Jerome Klapka Jerome (1859- ) is an Eng- 
lish journalist and play writer. His Idle Thoughts of an Idle Fellow 
and Three Men in a Boat are his best humorous works. His best- 
known play is The Passing of the Third Floor Back. 

HELPS TO READ (p. 285) 

Have the class read this selection orally without any discus- 
sion until the end. Use the notes on page 286 to suggest in- 
teresting additional work. This story would also make a short 
and amusing dramatization that would fit well into various 
kinds of programs. 

Biographical note. — John Byrom (1692-1763) was an English 
writer of verse. He knew intimately many of the great men of his 
time and wrote interesting accounts of them in his diary. He was 
also the inventor of a system of shorthand. 

THE KETTLE AND THE CRICKET (p. 286) 

This selection is for oral sight reading. 

Introduction: What is a cricket? Have you ever heard one 
sing? At what season of the year do we hear the crickets? 
Occasionally, in the country, a cricket will get into the house 
in the autumn and, hiding away in some dark corner, will chirp 
and chirp. Have you ever heard a kettle sing ? This story tells 
us of a singing race between a kettle and a cricket. 



3 oo SIXTH YEAR 

Have the class read the selection orally, without further prep- 
aration. Suggest the following questions, in addition to the 
notes on page 288 : What is laughable about the picture of the 
kettle in the second and third paragraphs ? What two pictures 
are suggested in the fourth and fifth paragraphs respectively? 
What were the kettle and the cricket singing about? What 
does the last paragraph mean? Explain the following: mire, 
hoar frost, solos, first fiddle. 

For biographical sketch, see page 166, Manual. 

PIANO MUSIC (p. 289) 

Have several members of the class read this selection orally, 
each one trying to bring out the sound effects and the humorous 
touches in the description. Vulcan, line 10, page 290, was 
the blacksmith of the gods in Roman mythology. Assign to 
good readers the selections mentioned in the notes on page 290, 
to prepare and read to the class. Encourage members of the 
class to bring in and read any other selections similar in 
metrical character. 

BIG BUSINESS (p. 291) 

Use this selection for oral sight reading. 

Make use of the suggestions at the end of the selection, and 
encourage the class to discuss the situation. The following 
words should be pronounced and explained : valise, creden- 
tials, calaboose. Suggest the following questions : What is the 
humor in having Tomlinson say " The personal element is 
everything "? Why did Robinson's plan not work in Tomlin- 
son's case? 

Biographical note. — Stephen Butler Leacock (1869- ) is a 
Canadian college professor and essayist. His serious writings are 
on economics and politics, his humor includes amusing parodies and 
light essays on literary and social subjects. 



OLD-WORLD STORIES 301 

MAN AND HIS SHOES (p. 294) 

This selection is to be read orally at sight. Use the questions 
at the end as an aid in bringing out the humor. 



Review Questions : Which selection seemed most humorous to 
you? What in it seemed especially good? When we began 
the reading of this section, a suggestion was made that each 
pupil find a good anecdote to tell to the class. Tell your anec- 
dote. 

Have the class decide which anecdotes were best and which 
were told best. 

SECTION IX — OLD-WORLD STORIES 

Introduction: What do we mean when we speak of the 
" Old World " ? Why do we call it the Old World? Look at 
the titles of the stories in this section. Read the introductory 
paragraph. What Old- Wo rid stories dp you know? 

THE STORY OF LAFAYETTE (p. 297) 

This story is to be read silently and retold from an outline. 

Have the class recall what they know of Lafayette and his 
connection with America and then read the story silently. 
They should complete the reading in six minutes or less. After 
the reading let them outline the story by topics (not by para- 
graphs) and then retell it. The following outline is a good one : 

1. Lafayette's home. 

2. His father's death. 

3. The boyhood of Lafayette. 

4. The visit of the English nobleman. 

5. Lafayette's decision. 

6. The meeting with Silas Deane. 

7. The meeting with Franklin and the trip to America. 

8. The journey from Charleston to Philadelphia. 



3 o2 SIXTH YEAR 

The directions on page 302 suggest correlated work in 
history. 

Biographical note. — Alma Holman Burton is the author of sev- 
eral books on American history and biography. 

HOSPITALITY REWARDED (p. 303) • 

This lesson is to be read silently, for its interest as a myth. 

Introduction: The ancient Greeks explained many things 
by stories in which their gods or heroes had a part. Natural 
phenomena, customs and beliefs, and useful inventions all have 
stories told to account for them. The people who told this 
story perhaps wished to explain a striking bit of natural scen- 
ery, and to do so they made use of their belief that the gods 
sometimes visited the earth, rewarding the good and punish- 
ing the wicked. Read the story silently, as rapidly as you can ; 
you should finish it in four minutes or less. 

After the reading let the children retell the story briefly, bring- 
ing out the following points : why the gods were in disguise ; 
how they were treated by the villagers and how by Baucis and 
Philemon ; how Baucis and Philemon guessed who the travelers 
were ; what rewards and punishments the gods gave ; what 
finally happened to Baucis and Philemon ; what scene suggested 
the story. 

Let the class answer the questions in the notes on page 306 
and pronounce or explain the following : garb, thatched, Bau- 
cis (bo'sis), Philemon (ft-le'mon). 

Biographical note. — Ovid (43 B.c-17 a.d.) was a Roman poet. 
His work is brilliant and witty and shows a great admiration of 
natural beauty. The Metamorphoses are stories of the transformations 
of people into plants or animals, retold from Greek myths. He 
himself considered it his best work and it was published in Rome by 
one of his friends while the poet himself was in exile. 



OLD-WORLD STORIES 303 

THE VISION OF BELSHAZZAR (p. 307) 

This selection is to be read orally for its narrative interest. 

Introduction: This poem is based on a Bible story which is 
found in the fifth chapter of the Book of Daniel. Belshazzar, 
King of Babylon, made a great feast and invited the nobles of 
the land. While the feasting was going on, the fingers of a 
hand appeared on the wall and wrote, but no one could read the 
writing or tell what it meant. Finally Daniel, a captive from 
a foreign country, was called. He read it and explained it. The 
strange words said : " Thou art weighed in the balance and found 
wanting," — the king's power was to be taken from him and 
his kingdom to be given to another. Let us hear how the poet 
tells the story. 

Read the poem to the class, then study it with them, as fol- 
lows : Read the stanzas that describe (a) the feast, (b) the 
strange writing, (c) its effect on Belshazzar, (d) the attempts to 
find out what the writing meant, (e) Daniel's true interpre- 
tation of the writing, (J) the prophecy. Pronounce and explain 
these words : satraps, deemed, waxed, lore, expound, mar, 
canopy, Mede, Persian, Belshazzar (bel-shaz'ar). Read the 
notes on page 308 and answer the questions asked. Do you 
know any other stories about Daniel? (Some of the children 
may know the story of Daniel in the lions' den.) 

Close the lesson by having the poem read orally by gocd 
readers. 

Biographical note. — George Gordon Byron, Lord Byron (1788- 
1824) was a great English poet. He had a lonely and unhappy 
childhood and his later life was stormy and unsettled. He spent 
much time traveling through Portugal, Spain, Switzerland, Italy, and 
Greece, and his most famous poem, Childe Harold's Pilgrimage, makes 
use of many of his impressions of travel. Its publication made him 
at once a celebrity, the equal of Sir Walter Scott in the public eye. 
The lines from it beginning " Roll on, thou deep and dark blue Ocean, 



3o 4 SIXTH YEAR 

roll," and the fine description of the eve of the battle of Waterloo 
are among Byron's best work. Another good long poem is " The 
Prisoner of Chillon" ; the short lyric, " She Walks in Beauty like the 
Night," is exquisite in feeling, imagery, and expression. 

Lord Byron was an ardent lover of _ liberty and died while aiding the 
Greeks in their war for independence from Turkish rule. 

THE SONS OF FERIDOUN (p. 309) 
This story is to be read silently, for its narrative interest 
and its Eastern atmosphere. 

Introduction: " The Sons of Feridoun " is a Persian story. 
What other Persian stories have you read? Who tells this 
story? What other stories have you read by this author? 
(See sketch, page 105, Manual.) What do you know about 
him? Read the story silently, timing yourself to see if you 
can complete it in four minutes or less. 

When the class have finished reading, ask them to retell the 
story briefly, using the questions in notes 1 and 2, page 312, as a 
guide. Ask them to read note 3, page 312, and name other 
" three brothers " stories that they know; have them re-read 
the story and select passages that give them vivid impressions 
of the East — its age, its splendor, its romance, its wisdom. 
Have the following words pronounced : gazelle, Yemen (yem'm), 
pheasant, cymbals, Selim (se'lim), Tur (toor), Irij (ir'Ij), 
Iran (e-ran'). 

Biographical note. — Firdusi was the great national poet of Per- 
sia. He lived about a thousand years ago and his long life was spent 
in the study of the ancient history of his country, in writing verses, 
and in traveling from one court to another. The Shah Nameh is an 
epic poem — that is, a narrative poem dealing with the deeds of 
heroes — and is based on the ancient Persian legends. The class 
should know about some of the chief national epics : Homer's Iliad and 
Odyssey in ancient Greece ; Virgil's Mneid in Rome ; the stories of 
King Arthur and Roland in medieval England and France ; the Edda 
of the Norsemen. 



OLD-WORLD STORIES 305 

THOR'S JOURNEY (p. 313) 

This selection is to be read silently and retold. 

Introduction: Read the introductory note and note 2, page 
319. This is one of the Norse legends that you should know. 
Read the story silently and see how much of it you can tell. 

Have the class use the following outline in telling this story : 
(a) the reasons for the journey, (b) the stop at the end of the 
first day, (c) the events of the second day, (d) the second night, 
(e) the meeting with the Giant, (/) the third night, (g) the 
visit to Utgard, (h) leave-taking and explanations. Let them 
answer the questions on page 319, and recall any other Norse 
myths or stories about the Norsemen. 

The following words should be pronounced : Hraesvelger 
(hras'vel-ger), Balder (bol'der), Frey (fra), Loki (lo'ke), Thi- 
alfi (the-al'fe), Roskva (rosk'va), Utgard (dbt'gard), Logi 
(lo'ge), Hugin (hdc/gm), Elli (el'le), chagrined. 

Note. — The Edda is a collection of songs of the gods and heroes 
of Norse mythology, written in the old Icelandic tongue, and probably 
composed in its present form sometime between the tenth and the 
thirteenth centuries. 

HENRY HUDSON'S QUEST (p. 320) 

This poem is to be read orally for its pictures and for correla- 
tion with history. 

Introduction: Read the explanatory note at the end of the 
selection. Locate on the map Amsterdam, Norway, New York 
Bay and Hudson River, Hudson Bay, and Hudson Strait. In 
searching for the northwest passage to Asia, Hudson discovered 
the river which bears his name and sailed up as far as the pres- 
ent site of Albany. On a later voyage he discovered the bay 
and strait which now bear his name. 

Read the poem to the class and study it as follows : Read 
the stanza that describes the starting out. Read the line in 

S.H.R. MAN. 4-5-6 — 20 



3 o6 SIXTH YEAR 

this stanza that tells the object of the voyage. What is meant 
by the Eastern Sea? What does the second stanza tell you 
about the voyage? Read the third stanza. What harbor is 
referred to in the third and fourth lines of this stanza? Read 
the stanza that describes the voyage up the river. Read the 
stanza that describes Hudson's feelings as he turned his ship 
down the stream. 

The following words should be explained : prow, loomed, 
sills, main, crypt. 

Biographical note. — Burton Egbert Stevenson (1872- ) is an 
American author, editor, and librarian, who has written numerous 
stories and edited the Home Book of Verse and other anthologies. 
He lives in Chillicothe, Ohio. 

THE FRENCH CHILDREN'S CRUSADE (p. 322) 
A CHILD CRUSADER'S STORY (p. 325) 

These two stories are to be read silently and studied together. 
The reading should occupy less than five minutes. The intro- 
ductory note on page 322 and the notes on page 326 furnish 
material for study of the background and content of both se- 
lections. " A Child Crusader's Story " is written in a particu- 
larly picturesque style. Have the children notice what qualities 
make it seem like the actual speech of the child Crusader. 

Have the class pronounce and explain the following: fold, 
sandals, pilgrim, wallet, oriflamme, realm, crook, symbol, Ven- 
dome (vaN-dom'), Saint Denis (de-ne'), Marseilles (mar-sa/y'), 
ogres, werewolves. 

Biographical note. — Maude Barrows Dutton has written several 
books of stories from history. 

HOW CALAIS WAS SAVED (p. 327) 

This selection is to be read silently for its narrative interest 
as a famous tale of heroism, its historic background, and its 
medieval atmosphere. 



OLD-WORLD STORIES 307 

Read the introductory note to the class, and have them find 
Calais and England on the map. They should be able to read 
the story silently in four minutes or less. The notes on page 
330 supply material for study of the content. Have the chil- 
dren note the style of this narrative, which is very slightly mod- 
ernized from a fine sixteenth-century English rendering of 
Froissart's French. The following words should be pronounced 
and explained : burgesses, Vienne (vyen), St. Pierre (saN pyar), 
Calais (kal'a), blemish, Philippa (fl-lip'a), nobles. 

Biographical note. — Jean Froissart (1338-1410) was born near 
Valenciennes in northern France. His father was a painter of coats 
of arms, and Froissart grew up with the pomp of chivalry always be- 
fore his eyes. Queen Philippa, whose kindness he celebrates in 
this tale, was his first patroness and suggested to him the idea of his 
chronicles of contemporary history. He traveled widely to collect his 
materials and wherever possible he got first-hand accounts of people 
and events. He says himself that he wrote his book to give pleasure 
to his readers, and to this end he filled it with the things he admired 
most and loved best — stories of knights and ladies, kings and 
great folk, heroic deeds, courage, splendor, and knightly honor. 

THE SKATING MATCH (p. 331) 

The first section of this story, to the middle of page 333, is to 
be used as a test. (See directions, pages 13-17, Manual.) 

Read the introductory note to the class, and then proceed 
with the test in the usual manner. Use the following questions : 

1. When did this race take place ? 

2. Why did the millers decide to go to the race? 

3. What site was selected for the race? 

4. How many people competed ? 

5. Where were the racers assembled? 

After answering the questions and counting and recording 
the number of words, have the class read the rest of the 



308 SIXTH YEAR 

selection silently in order to read it well orally. Let the class 
select five readers to read the story orally, each to read one 
section. Direct the readers to try to make the remainder of the 
class, who are listening with closed books, see and feel the ex- 
citement of the situation. The questions on page 342 supply 
study material. 

The following words should be pronounced : Zuider Zee (zi'- 
der ze'), Burgher Asylum, boulevards, harlequin, breeches, 
brocade, triplets, pavilion, lithe, Olympus, majestically. 

Biographical note. — - Mary Mapes Dodge (1838-1905) was born in 
New York. She was for many years editor of Saint Nicholas and also 
wrote stories and verse for children. Hans Brinker, or the Silver 
Skates, is the best-known of her stories. It has been translated into 
five European languages, and was crowned by the French Academy. 



Have the class discuss the stories in the section, mentioning 
countries, times, characters, or incidents that especially pleased 
or interested them. 



SECTION X — TRUE SUCCESS 

Introduction: What do you understand by success? Are 
people who acquire wealth the only ones who are successful in 
life? Explain. Is it possible to fail to accomplish an under- 
taking and yet to be successful in a broader sense of the word ? 
Explain. Have the introductory stanza read by a good reader, 
and ask the class to glance through this section, noting the titles 
and watching for any stories with which they are familiar. 

LETTER TO HIS SON (p. 345) 

This selection is to be read orally for its praise of duty. 
Introduction : Who is the author of this selection ? Who was 
Robert E. Lee? Read note 1, page 346, for further facts. 



TRUE SUCCESS 309 

Have the class read the selection silently, and answer the 
questions on page 346. Let them select and read aloud any 
sentences from this letter that they like. If possible show a 
picture of Lee to the class. Close the lesson by having the 
letter read orally by a good reader. Suggest that if there is 
any thought in this letter that a pupil thinks particularly good, 
he should copy it into his book of memory gems and learn it. 

Have the class pronounce and explain the following : equivo- 
cation, consternation, adjournment, legislator, inflexible. 

Biographical note. — Robert Edward Lee (1807-1870), the son of 
a famous Revolutionary soldier, was born at Stratford, Virginia. 
He graduated from West Point in 1835 and served through the 
Mexican War, and afterwards in Indian fighting on the Texas border. 
During the Civil War, Lee was the leading general of the Confeder- 
acy. His daring strategy, energetic attacks, and influence with his 
men rank him among the famous generals of the world. After the 
war he became president of Washington and Lee University — 
then Washington College. 

ABOU BEN ADHEM (p. 347) 

This selection is to be read orally. It teaches the worth of 
altruism, or love of one's neighbors. 

Introduction: This poem which we are to read and memorize 
is about a man, Abou Ben Adhem, who had a very unusual ex- 
perience. Let us find out about it. 

Read the poem to the class and study it as follows : Read the 
lines that tell what happened one night to Abou Ben Adhem. 
What does the poet wish in line 1 about men like Abou Ben 
Adhem? What kind of dream had he been having? What 
effect does line 6 say that peace had upon him? What did 
he do? What did the vision do and answer? What question 
did Abou next ask and what reply did he receive? What ef- 
fect did this have upon him? Re-read the whole of the first 



310 SIXTH YEAR 

stanza. What happened the next night? Re-read the second 
stanza. Answer the questions at the end of the selection. Con- 
tinue the memorization in the usual way. (See directions for 
memorization, pages 47-51, Manual.) 

As the next two selections are to be memorized, it may be 
well to leave them for a few days until this selection is thor- 
oughly learned. The class may go on with the reading of other 
selections. 

For biographical sketch, see page 295, Manual. 

THE NOBLE NATURE (p. 348) 

Read the poem to the class and study it as follows : Read the 
first two lines. What do they say? What is said in the next 
two? How does the poet say that it is not size or age that 
counts? What does " sear " mean? W T hat does he say about 
the lily that blooms for the day only ? In the last two lines the 
poet sums up what he has been saying in the first eight. Read 
them. What is the message of this poem ? 

Continue the memorization as usual. (See directions for 
memorization, pages 47-51, Manual.) 

Biographical note. — Ben Jonson (1573-1637) was an English 
dramatist, a contemporary of Shakespeare, whom he calls " sweet 
swan of Avon." His adventurous life, his learning, and his 
plays modeled on the Roman drama made him a leading liter- 
ary figure in his time. Besides his plays he wrote a few exquisite 
lyrics — " Drink to me only with thine eyes," is now the best known. 

INGRATITUDE Cp. 348) 

Introduction: Who is the author of this selection? What 
do you know about Shakespeare and his writings? (See page 
225, Manual, for biographical sketch.) What is ingratitude? 
Let us see what Shakespeare says about it. 

Read the poem to the class, and study it with questions like 



TRUE SUCCESS 311 

these: With what does the poet compare ingratitude in the 
first stanza? How does ingratitude compare with the sharp, 
cutting, winter wind? Read the first stanza. With what is 
ingratitude compared in the second stanza? How does ingrat- 
itude compare with the bitter, freezing cold of winter? Read 
the second stanza. 

Continue the memorization as usual. (See directions for 
memorization, pages 47-51, Manual.) 

AS GOOD AS HIS WORD (p. 349) 

Use this selection for oral sight reading with appreciation of 
the value of truthfulness. 

Introduction: What is the title of this selection? What do 
we mean when we say that a person is " as good as his word " ? 
Think about this question — you need not answer it aloud : 
Have you a reputation among your friends and playmates for 
being " as good as your word "? How may a person get such 
a reputation ? Let us read orally the story of this man who was 
as good as his word. 

After the reading have the class discuss and answer the ques- 
tions on page 352. 

The following words and phrases should be explained : golden 
rule, penitentiary, husky with emotion, unlettered, gaunt, as- 
tounded, capitol, felon. 

Biographical note. — Mrs. Martha Grassham Purcell was a mem- 
ber of the Board of Education of Paducah, Kentucky, at the time 
she wrote this book of stories from Kentucky history. 

CLEON AND I (p. 353) 

This poem is to be read orally, for appreciation of content- 
ment, intelligence, and freedom. 

Introduction: Does wealth always make people happy? 
Is it possible for a person who possesses but little to get a great 



312 SIXTH YEAR 

deal of happiness out of life? Explain. This poem compares 
the life of a poor man with that of Cleon, a man who possessed 
great wealth. 

Have the poem read by good readers, and let the class answer 
the questions at the end of the selection. 

For biographical sketch, see page 114, Manual. 

CARCASSONNE (p. 354) 

This selection is to be read orally, for appreciation of the 
worth of an unattainable ideal. 

Introduction: This poem is the story of an old man who all 
his life had wished to visit a neighboring city, Carcassonne. 
Have you any special wish or dream? Do you expect it to 
come true? 

Read the poem to the class and study it on the following plan : 
What does this old man say in the first stanza ? What was his 
dearest wish? What does he say about Carcassonne in the 
second stanza ? A league is about three miles. How far away 
was the city? Read line 14, page 354. He does not complete 
his thought there. What was he thinking that he did not say? 
Babylon was at one time the greatest city of the ancient world. 
What does the old man say about Carcassonne in the third 
stanza? What does he say about this ambition of his in the 
fourth stanza? Even though the Cure had said that " Ambi- 
tion ruins all mankind," was he willing to give up this ambition? 
Prove your answer by reading from the poem. Are all ambi- 
tions wrong? Discuss. Read the fifth stanza. To whom does 
he speak in this stanza ? What does he tell us in the third and 
fourth lines of this stanza? Explain. Did he ever see Car- 
cassonne? Read the stanza which tells you so. What pleas- 
ure or profit do you think he got from his unfulfilled wish ? 

Have the class read the suggestions and answer the questions 
on page 355. 



TRUE SUCCESS 313 

The following words should be pronounced or explained: 
Carcassonne (kar-ka-son'), unalloyed, cure (ku-ra/), homily, 
Aignan (a-ynaV), Narbonne (nar-bon'), Perpignan (per-pen- 
yai/), Limoux (le-moo')- 

Biographical note. — Gustave Nadaud (gobs-tav' na-do') (1820- 
1893) was a French writer of songs, born at Roubaix, in the north of 
France. 

JOHN MAYNARD (p. 356) 

Use this selection for oral sight reading, with appreciation of 
heroic courage. After the oral reading, have the class read the 
notes on page 357 and answer the questions. 

Study: How does the memory gem at the bottom of the page 
apply to John Maynard? Memorize it. Horace Mann was a 
famous American educator. 

Biographical note. — John B. Gough (1817-1886) came to Amer- 
ica from England when twelve years old and worked first as a farm 
hand and then as a bookbinder. Later, after his own rescue from 
alcoholism, he became a well-known temperance lecturer in Amer- 
ica and in Great Britain. 

THE HERITAGE (p. 358) 

Introduction: Who is the author of this poem? What do 
you know about Lowell and his writings? (See page 242, Man- 
ual.) What is a heritage? Read the introductory note. 
Have the poem read by a good reader, and study it as follows : 
What question is asked in the first line of each of the first three 
stanzas? What answer is given to this question in (a) the 
first stanza, (b) the second stanza, (c) the third stanza? Dis- 
cuss each of these answers. What suggestions are made to the 
rich man's son in the fourth stanza? Discuss them. What is 
said to the poor man's son in the fifth stanza ? Discuss. What. 
does the last stanza say about both? 



3 i4 SIXTH YEAR 

Use the suggestions and questions at the end of the selection 
for discussion. Close with a reading of the poem. 

A WISH (p. 360) 

This poem is to be read orally for its praise of a simple life. 

Introduction: If you were to have a new home, what kind of 
home would you prefer? In the poem which we are to read to- 
day, the author describes the kind of home that he would like. 
Let us read it and see how his ideas of a home compare with 
ours. 

Have the poem read by a good reader and let the class discuss 
and answer the questions at the end of the selection. Ask them 
to explain the following: willowy brook, ivied porch, russet 
gown, taper spire. 

Biographical note. — Samuel Rogers (1763-1855) was an English 
poet, the son of a London merchant. He inherited a share in a 
thriving banking business, and was able to gratify his love of litera- 
ture and art. For the first fifty years of the nineteenth century 
Rogers's house in London, decorated by famous painters and full of 
art treasures, was a meeting place for artists, poets, and critics. 
Wordsworth, Scott, and Byron were among his friends, and in his 
old age he refused the laureateship which was then given to Tenny- 
son. His importance in literature is more as a patron, dictator, 
and critic than as a creator of original work. 

WHO IS THE HAPPIEST MAN? (p. 361) 

This selection is to be read silently for its answer to the ques- 
tion in the title. 

Introduction: To-day we are to read a story about King Croe- 
sus, who was said to be the richest man in the world. What is 
the title of this selection? Do you think that King Crcesus 
was the happiest as well as the richest man? Let us read the 
story silently, to find out. Try to read it through in four min- 
utes or less. 



TRUE SUCCESS 315 

After finishing the reading have the class answer the follow- 
ing questions in addition to those on page 364: Was Croesus 
the happiest man? What were the qualities and possessions 
that made men happy, according to Solon ? 

The following words should be pronounced or explained: 
Croesus (kre'sws), Solon (so'lwn), Tellus (teTlws), Cyrus (sl'- 
rws), pyre, befall. 

For biographical sketch, see page 105, Manual. 

THE HAPPY MAN (p. 365) 

This selection is to be read orally for its thought — that 
happiness consists in mental and moral freedom. 

Introduction: What is the title of this poem? In the last 
selection what did we find out about the relation of riches and 
happiness ? This poem tells us of some of the things that make 
for happiness. 

Read the poem to the class and ask questions like these: 
What things does the poet mention that make a man happy? 
Explain what the first stanza means to you ; the second ; the 
third. 

Close by having the poem re-read by a good reader. 

Biographical note. — Sir Henry Wotton (1 568-1639) was an Eng- 
lishman who spent most of his life in foreign countries on diplomatic 
errands. He is best known in English literature as the author of two 
short poems — the one given here, on the happiness of a quiet life, 
neither rich nor poor ; and the exquisite " You meaner beauties of 
the night," written in honor of the beautiful Queen Elizabeth of 
Bohemia. 

DARE TO DO RIGHT (p. 365) 

This selection is to be read orally for its lesson of moral 
courage. 

Introduction: We have found that riches do not always 



316 SIXTH YEAR 

bring happiness. Does conduct have any relation to happi- 
ness? Explain. Let us see what our poem has to say about 
right conduct. 

Have some good reader read the poem to the class and study 
it as follows: What two lines suggest that doing right brings 
happiness? What different right things does the poem advise 
that you dare to do? 

Close the lesson by having the poem read by a good reader. 

Suggest that the children copy this selection in their books of 
memory gems and memorize it. 

A GOLDEN COPPERSMITH (p. 366) 

This selection is to be read silently for its story of heroism. 

Introduction: What is the title of this selection? What is a 
coppersmith? How could a coppersmith be golden? Read 
the story silently and find out. Try to complete the reading in 
five minutes or less. 

Have the class answer the questions at the end of the selec- 
tion. The following words should be pronounced or explained : 
Basil GavrilofF (baz'il gai'ri-lof), Moscow (mos'ko), Assump- 
tion, relics, Ivan (e'van), Veliky (va-le'ke), suffocating, in- 
evitable, alternative, extremity, dissuading, solicited, cornice, 
casque, rouble (roo'b'l), Chancellerie (chan'sel-er-i), destination, 
Monsieur Flottof? (me-syu' flot'of). 

OPPORTUNITY (p. 370) 

This selection is to be read orally for its teaching. 

Introduction: What is the title of this poem? What do we 
mean by opportunity? In this poem Opportunity is supposed 
to be speaking. Let us hear what it says. 

Read the poem to the class and have them read and discuss 
it sentence by sentence, bringing out the meaning. Let them 



COMMUNITY AND COUNTRY 317 

decide on a single sentence to express its teaching. The fol- 
lowing words should be pronounced and explained: hovel, 
mart, penury. Close by having a good reader read the poem. 

Biographical note. — John James Ingalls (1 833-1 900) was born in 
Middleton, Massachusetts. He went to Kansas to practice law, and 
became a prominent journalist and politician. He was for some 
years a member of the United States Senate. 

Review Questions:- Which selection in this section do you 
like best? Why? What is the general topic of this section? 
What factors in success have you learned about? What 
essentials of happiness? Write definitions of success and of 
happiness. 

SECTION XI — COMMUNITY AND COUNTRY 

Introduction: What is the title of this section? What is the 
difference between our community and our country? Glance 
through this section, noting the titles of the selections. Are 
you familiar with any of them ? (Have some good reader read 
the introductory stanza, page 371.) Re-read the second line of 
the stanza. Has our country ever dared to be strong for some 
other country? 

Tell the class how the United States helped Cuba to throw 
off the Spanish yoke without any thought of reward. 

THE MAN WITH HIS HAT IN HIS HAND (p. 373) 

This selection is to be read silently for its picture of patriot- 
ism. 

Introduction: What is the title of this selection? Look at 
the picture on page 372. What is happening? (Read the in- 
troductory note to the class.) Why do you think this old man 
is standing with his hat in his hand? Read the selection si- 
lently and find out. See if yo ; u can complete the reading in 
three minutes or less. 



318 SIXTH YEAR 

Have the class answer the questions on page 375. 

The following words should be pronounced and explained: 
regimental parade, unpretentious hearthstones, raw recruits, in- 
trepid, mountain fastnesses, rural, unison, fraught, counterpart, 
muster roll, riveted, evolutions, commissioned officers, bugler, 
belched, adieu, king of day, halyard, reverential, resonant, in- 
voluntarily, futile, spontaneous, libation, ardor, homage. 

Biographical note. — Clark Howell (1863- ) is a Southern 
journalist. He succeeded Henry W. Grady as managing editor of 
The Atlanta Constitution in 1889 and later became editor in chief. 
His home is in Atlanta, Georgia. 

OUR COUNTRY'S CALL (p. 376) 

This stirring war cry should be read orally. 

Introduction: Notice the title and the author of this poem. 
What do you know about Whittier? (See page 231, Manual.) 
Upon what occasions does our country call for her sons ? Many 
of our people answered our country's call in the recent World War. 

Have the poem read orally by a good reader and let the class 
suggest synonyms for the following: altars, sires, whoso, fal- 
ters, brand, craven, base. 

Close the lesson by having the poem re-read by a good reader. 

THE LANDING OF THE PILGRIMS (p. 377) 

This selection is to be memorized. 

Introduction: (Read the introductory note to the class.) 
Try to picture to yourself how the coast of Massachusetts 
looked to these first white settlers. Mrs. Hemans has pic- 
tured it for us. 

Read the poem to the class, and study it as follows : Close 
your eyes and try to visualize this picture of the New England 
coast. (Call upon a good reader to read: the first two stanzas.) 
Why were these Pilgrims called " exiles "? What expression 



COMMUNITY AND COUNTRY 319 

does the poet use meaning " anchored their ship " ? The 
poet goes on to tell us first how they did not come and then how 
they did come. Read the next two stanzas. How did they not 
come ? What is meant by " the flying," line 13, page 377 ? How 
did they come ? How would you have expressed the thought of 
lines 15 and 16? The next stanza tells us more about their 
singing. Read the stanza. What were " the sounding aisles 
of the dim woods "? How was this song " the anthem of the 
free " ? There were no people to welcome them. How does 
stanza six say they were welcomed? The seventh stanza tells 
us of whom this band of exiles was composed. Read it. What 
question is asked in the first line of the next stanza? What 
three reasons are suggested for their coming in the next two 
questions ? The last line in the stanza tells why they came. Read 
it. Read the whole stanza. In the last stanza, what does the 
poet say that we should call the region where they landed? 
Why? 

Have the poem re-read several times, and have the class 
read and answer the suggestions and questions at the end of 
the selection. Continue the memorization in the usual way. 
(See pages 47-51, Manual.) The following outline may help 
to get the thought groups in order and assist memorization: 

1. Description of the coast. (Stanzas 1 and 2.) 

2. How they came. (Stanzas 3-5.) 

3. Their welcome. (Stanza 6.) 

4. Who came. (Stanza 7.) 

5. Why they came. (Stanza 8.) 

6. The landing place a sacred spot. (Stanza 9.) 

Biographical note. — Felicia Dorothea Hemans (1793-1835) was 
an Englishwoman who spent most of her life in Wales. She wrote 
a great deal of verse, little of which is now read except a few short 
pieces like the one given here. She was fortunate in having many 
good friends, among them Sir Walter Scott, who liked her verse but 
thought it too flowery. 



320 SIXTH YEAR 

A GREAT CITIZEN (p. 379) 

This selection is to be read silently, for the information it 
contains. 

Introduction: Mention some of our great citizens of the past. 
What did they do that entitles them to be called great citizens ? 
Our story to-day is about a man who rendered valuable service 
in the Revolutionary War. Read the story silently to find out 
who he was and what he did. Complete it, if possible, in four 
minutes or less. 

Have the class answer the questions and read the note on 
page 382. The following words should be pronounced and 
explained : unanimously, pecuniary consideration, arduous, dis- 
charge, precarious, efficient, destitute, campaign, dissatisfac- 
tion, certificates. 

For biographical sketch, see page 105, Manual. 



AT VALLEY FORGE (p. 383) 

This selection is to be used as a test. (See directions, pages 
13-17, Manual.) 

Read the introductory note to the class and proceed with the 
test in the usual manner. The following questions should 
be answered : 

1. How do you know that it was winter? 

Ans. Any one of the following: wind cold and piercing, snow- 
flakes, frozen road or ground, blinding snow, icy wind, rattling the 
leafless branches, biting wind. 

2. How many soldiers were in sight ? 

3. How were the horsemen dressed ? 

4. Where must they find their shelter? 

5. Name three things that caused great suffering in this camp. 
Ans. Any three of the following: disease, famine, cold, lack of 

w?rm clothing. 



COMMUNITY AND COUNTRY 321 

After the questions have been answered, discuss the selec- 
tion with the class, read the note on page 384, and carry out 
its suggestion. 

The following words should be pronounced and explained: 
disheveled, wan, vanguard, motley, lumbering, martial, forti- 
tude, infest. 

Biographical note. — Henry Armitt Brown (1844-1879) was born 
in Philadelphia. He was graduated from Yale and later traveled abroad 
before beginning the practice of law. He was an especially good speaker 
and was frequently asked to speak on anniversary occasions. The 
speech from which this extract is taken was made at the Valley 
Forge centennial in 1878. 

CONCORD HYMN (p. 385) 

This poem is to be read and memorized for its historic 
interest. 

A few days before the study of this poem is begun appoint a 
committee of children to report on the battles of Lexington 
and Concord. If the class has had the history of this 
period, only a review of the events leading up to the battle 
will be necessary. Read the introductory note and the poem 
to the class, and study it as follows: Read the first stanza. 
What expression does the poet use in the first line in place of 
" across the stream "? What word for " drawn up in line for 
battle" in the third line? Who gathered at the bridge? 
Why was that shot " heard round the world "? How does the 
poet tell us that this happened long ago? Read the second 
stanza. What does the third stanza tell us was being done on 
the occasion of the poem ? Why? What is a " votive stone " ? 
With what entreaty does the poem close? Continue the 
memorization in the usual manner. (See pages 47-51, Manual.) 

Biographical note. — Ralph Waldo Emerson (1S03-1882) phi- 
losopher, essayist, and poet, was born in Boston. He was descended 

S.H.R. MAN. 4-5-6 — 21 



^22 SIXTH YEAR 

from Puritan stock and his grandfather, the Reverend William Em- 
erson, was living in Concord at the time of the right this hymn com- 
memorates, took part in the battle, and later died while serving as 
a chaplain in the Revolutionary army. Emerson graduated from 
Harvard and tried successively teaching and the ministry. His 
original and powerful mind, however, led him to give up both and 
devote his time to thinking, writing, and lecturing. He visited 
Europe in 1832 and while in Great Britain met Coleridge, Words- 
worth, and Carlyle, with the last of whom he formed a real friend- 
ship. Emerson was an exceptionally fine and successful lecturer, a 
brilliant and stimulating essayist, and one of the most notable of 
American poets. His combination of intellectual independence and 
high idealism with practical good sense and good taste made him an 
important influence on the liberal thought of his time. " The Snow 
Storm," Seventh Year, page 194, and " Forbearance," Eighth Year, 
page 405, are fine examples of Emerson's poetry. 

THE HOUSE BY THE SIDE OF THE ROAD (p. 386) 

This selection is to be memorized. 

Introduction: What is the title of the section of the book 
which we are now reading? Do the selections of this section 
previously read deal with country or wdth community? This 
poem treats of the relation of a citizen to the people of his com- 
munity. 

Read the poem to the class, and ask questions like these: 
What three types of people who live apart from the w r orld are 
mentioned in the first stanza? What is meant by " hermit 
souls"; " souls like stars " ; " pioneer souls " ? (The phrase 
" thy soul was. like a star" is used by Wordsworth, referring to 
the great English poet Milton ; the sonnet in which it occurs 
begins " Milton, thou shouldst be living at this hour.") Where 
does the author wish to live ? Why? Read the stanza. What 
does the author say in the second stanza? What is a scorner? 
A cynic? What word does the poet use in place of " throw "? 
Read the stanza. How T does the stanza end? Glance through 



COMMUNITY AND COUNTRY 323 

and see how many other stanzas end in the same way. What 
does he tell us in the third stanza that he sees from his house? 
How does he treat these people? Read the stanza. Read the 
fourth stanza. What lines tell us that he sees both joys and 
sorrows in the life ahead? How does he deal with these joys 
and sorrows that come to his fellow men? Re-read the fourth 
stanza. Read the last stanza. To which stanza is it similar? 
Have the class answer the questions on page 387 and then 
go on with the memorization in the usual manner. (See pages 
47-51, Manual.) 

Biographical note. — Sam Walter Foss (1858-1911) was an Amer- 
ican author and lecturer. He was for many years librarian in the 
public library of Somerville, Massachusetts, and was the author of 
several volumes of verse. 

OLD IRONSIDES (p. 388) 

This selection is to be read orally, with appreciation of its 
historical background, 

Introduction: Who is the author of this poem? What can 
you tell about him? (See page 200, Manual.) 

Show a picture of the ship to the class and give the facts 
stated in the introductory paragraph. Read to the class the 
poem and note 1, page 389. 

Study : Read the first stanza. What is meant by " tattered 
ensign"? What scenes had this flag, or ensign, witnessed? 
Re-read the stanza. Read the second stanza. What tells us 
that this ship had been victorious in battle? If the ship were 
dismantled what would become of its parts? How does the 
poet say this? What suggestions does Holmes make in the 
last stanza? 

Have the poem read once or twice by good readers at the 
close of the lesson. The following words should be explained : 
meteor, harpies, hulk, threadbare. 



3 2 4 SIXTH YEAR 

GOD GIVE US MEN (p. 389) 

This selection is to be read orally for its ideal of citizenship. 

Introduction: What kind of men are needed by both com- 
munity and country ? One of our poets has summarized for us 
the kind of men needed. 

Read the poem to the class, and ask such questions as these : 
What is a demagogue? Explain lines 10 and n. Why does 
the poet say we need these men ? 

Have members of the class select any one thought of the poem 
and discuss or explain it. Close by having the poem read two 
or three times by good readers. The following words should 
be explained : lust, spoils of office, rabble, thumb-worn creeds, 
large professions. 

Biographical note. — Josiah Gilbert Holland (181 9-1 881) was a 
native of Massachusetts. He studied and practiced medicine but 
gave it up for journalism and was remarkably successful as editor of 
the Springfield Republican. He founded the magazine (Scribner's 
Monthly) which is now The Century, and was editor of it until his 
death in 1881. He was a popular writer of both prose and verse 
and was also a successful lecturer. 

DAILY SERVICE (p. 390) 

This selection is to be read orally and studied for its idea of 
service. 

Introduction: What are some of the ways in which people 
serve their country? Is your father serving his country when 
he is working hard to support his family? Explain. Is your 
mother serving her country by caring for the family? Ex- 
plain. How are you serving your country by regular attend- 
ance at school? Our poem to-day tells us of many ways in 
which people may serve their country. . 

Read the poem to the class and have the first stanza re-read. 
Continue the study as follows : Do army leaders always render 



COMMUNITY AND COUNTRY 325 

the highest service to their country? Why not? Read the 
second stanza. What is said of the services of officials? Of 
poets? Read the third stanza. Who does this stanza say 
serves his country best? Why? How can one " join the tide 
that lifts her nobly on"? Read the fourth stanza. What 
ways of serving one's country are mentioned in this stanza? 
Read the last stanza. How does the poet tell us in this stanza 
that the doing of even the smallest and the humblest duty may 
be a real service? 

Have the following words pronounced and explained: af- 
fray, turmoil, prop, vest, graven, bequest, bulwark. 

Close by having the poem read orally by good readers. 

Biographical note. — Susan Coolidge was the pen name of Sarah 
Chauncey Woolsey (183 5-1 905), an American writer of stories for 
young people. She was born in Cleveland, Ohio, and lived in New- 
port, Rhode Island. 

" BREATHES THERE THE MAN " (p. 391) 

This selection is to be memorized for its lesson of love of 
country. It is suggested that the. class study the next selec- 
tion before reading this. 

Introduction: Who is the author of this selection? What 
do you know about Sir Walter Scott? (See page 230, Manual.) 
To-day we are going to study a selection from one of Scott's 
longer poems, The Lay of the Last Minstrel, in which Scott tells 
what happens to a man who does not love his native land. 
What do we mean by our native land? What are some of the 
reasons why we should love our country? How many of you 
have ever been away from your home for a long time? How 
did you feel when you first saw your home again? How do 
you suppose a person feels when he enters one of our harbors 
after having been in a foreign country for some time ? What 
would you think of a person who was not glad and whose heart, 



326 SIXTH YEAR 

as the poet says, did not burn under such circumstances? 
Would such a person be a desirable citizen? Would he be 
greatly missed and mourned if he were to die? Listen to 
what Sir Walter says of such a person. 

Read the poem to the class and study it as follows : What 
question is asked in the first six lines of the poem? What is 
said of the soul of such a man? Read the third line in such a 
way as to make us feel that you love and are proud of our coun- 
try. What word is used in place of " shore " in line 6? Read 
again the whole question. Read the answer. What are we 
told to do in the first line of the answer ? In olden times min- 
strels used to wander from place to place singing of the great 
deeds of the heroes of their country. Read the line that tells 
you that no minstrel would sing of the man who did not love 
his native land. What effect would high rank, noble birth, and 
great wealth have upon the reputation of such a man? Read 
the lines that prove your answer. What word or words does 
the poet use in place of " song," in line 8 ; " great," in line io ; 
"riches," in line n ; " self -centered," in line 12; "give up 
his good name," in line 13? Read the lines which tell the fate 
of such a man during his life and after his death. Why does 
the poet say such a man dies doubly? 

Continue the memorization in the usual manner. (See 
pages 47-51, Manual.) 

A CREED OF AMERICANISM (p. 392) 

This selection is to be read silently for the information it 
contains. 

Introduction: What is the title of this selection? This 
creed gives us many reasons why we should be proud of our 
country and loyal to it. Read it silently and find out what 
these reasons are. 

After the silent reading have the class discuss and answer the 



COMMUNITY AND COUNTRY 327 

questions on page 393. The following words should be pro- 
nounced and explained : inalienable, incite, dictates, allegiance. 

THE ARK OF THE COVENANT (p. 394) 

This selection is to be read silently, for appreciation of the 
value of the home to the state. 

Read the introductory note to the class. Have the class 
read the selection silently, and let them discuss and answer the 
questions on page 396. Close by having members of the class 
select and read orally the sentence, paragraph, or picture that 
they like best. The following word's should be pronounced 
and explained: regeneration, gracious, smokehouse odorous 
with treasure, aroma, requiem, annals, lien, truant, benediction. 

Biographical note. — Henry Woodfin Grady (1851-1889) was 
born at Athens, Georgia. He was educated at the University of 
Georgia, and began his journalistic career by writing a series of pa- 
pers on the resources of his state. As editor of The Atlanta Consti- 
tution, a contributor to various magazines, and a remarkably force- 
ful speaker, he rendered valuable service to the South. In recogni- 
tion of his work, a public hospital and a monument were erected to 
his memory in Atlanta. An extract from his best-known speech is 
given on page 309, Eighth Year. 

QUALITIES OF GOOD CITIZENSHIP (p. 397) 

This selection is to be memorized. 

Introduction: What is the title of this selection? Who is 
the author? Why was Theodore Roosevelt a good citizen? 
Read the selection and find out what he considered essential 
qualities of good citizenship. 

Study: What does the writer tell us in the first sentence, 
about the man who counts? What does he say next? What 
quality does he place first in importance. Read the sentence 
that tells you. Is honesty alone sufficient? What is the 



328 SIXTH YEAR 

second quality needed ? Why ? Read the two sentences refer- 
ring to courage. What third quality does he mention? What 
reason does he give for this need? Read the selection as a 
whole. Answer the questions in note i. 

Continue the memorization in the usual way. (See pages 
47-51, Manual.) 

Biographical note. — Theodore Roosevelt (1858-1919), President 
of the United States from 1901 to 1909, was born in New York. 
As a boy he was rather delicate, but later, by sheer force of will and 
physical exercise, he became exceptionally vigorous. His striking 
personality and strong convictions, his enthusiasm and energy, his 
wide range of activity — as hunter, ranchman, and soldier, statesman, 
diplomat, and author — made him one of the notable men of his 
time. The facts of his life and public service are briefly given in the 
introductory note to the selection from his The Winning of the West 
("Frontier Life," Eighth Year, page 284). Thanksgiving Day Proc- 
lamation, 1905, Seventh Year, page 93, "The Problems of the Re- 
public," Seventh Year, page 354, and "Lessons of the War," Eighth 
Year, page 315, are other selections in this series. The selection 
from the New York Tribune, " Theodore Roosevelt, Great Amer- 
ican Citizen," Eighth Year, page 59, is an appreciative summing up 
of his personality and is especially interesting in connection with 
this selection. 

Study: Read the stanza at the bottom of page 397. Think 
about it and re-read it until you are sure you know what it 
means. Explain it. 

Biographical note. — Robert Jephson (1736-1803) was an Irish 
dramatist. He was the friend of Johnson, Garrick, Goldsmith, and 
other brilliant men of his time. 



Review Questions: Which selection in this section do you like 
best? Read or recite this selection to the class. If possible, 
tell why you like it. What qualities of a patriot have you 
learned about? What qualities of a good citizen? 



PART V — PROGRAMS FOR SPECIAL 
OCCASIONS 

In addition to the programs suggested by the section 
headings, the following selections have been found serv- 
iceable for the seasons named. The list may be extended 
at will by supplementary reading, and a local flavor can 
often be added by having the pupils collect interesting 
articles from the home papers. 

Fourth Year 

Autumn. PAGE 

Autumn ' 19 

Jack Frost 34 

The Anxious Leaf 36 

The Origin of Birds 273 

Labor Day. 

Our Helpers 209 

The Miller of the Dee . 211 

The Village Blacksmith 217 

Columbus Day. 

How America was Discovered ..151 

Columbus and the Egg . 159 

Halloween. 

A Halloween Show 119 

Armistice Day. 

The Ship of State 149 

Pledges 184 

Junior Red Cross. 

The Wonderful Waterfall 52 

The King of the Golden River 352 

329 



330 PROGRAMS FOR SPECIAL OCCASIONS 

Thanksgiving Day. PAGE 

The Thanksgiving Gifts 126 

We Thank Thee 130 

A Turkey for the Stuffing 131 

A Thanksgiving Creed 136 

Christmas. 

A Visit from St. Nicholas 137 

The Fir Tree . 140 

New Year's Day. 

The New Year 146 

The Arrow and the Song 308 

Winter. 

Raggles 78 

Mother Purnell 233 

Lincoln's Birthday. 

Abraham Lincoln's School Days 177 

Perseverance 312 

Washington's Birthday. 

Two Little Americans 1 60 

The Young Surveyor 162 

Humane. 

The Children and the Dog 56 

The Horse's Prayer to his Master 82 

God's Creatures 93 

Farmer John 99 

Thrift. 

Lost 49 

In Nutcracker Lodge 87 

Special Kinds of Farming : Kitchen Gardens 105 

How Crusoe Made Pottery 213 

The Old Cottage Clock 238 

Spring. 

Spring Song 27 

Dandelions 51 

The Coming of Seegwun . . . 187 



FIFTH YEAR 331 

Arbor and Bird Day. ?AGE 

In Orchard and Garden 102 

The Secret 274 

Robert of Lincoln . 278 

In the Honeysuckle 283 

The Bluebird 294 

Memorial Day. 

My Country 'Tis of Thee 182 

Patriots • . . 183 

Pledges 184 

Flag Day. 

A Song of Our Flag 181 

Pledges 184 

Summer. 

Camping Out 13 

A Summer Day 18 

Laughing Song 38 

In Orchard and Garden 102 

Independence Day. 

Paul Revere's Ride 168 

Song of Marion's Men 174 

My Country 'Tis of Thee 182 

Fifth Year 

Autumn. 

The Gift of Mondamin 203 

Merry Autumn 282 

Labor Day. 

Work 57 

Little Dafiy-Down-Dilly 60 

The Music of Labor 66 

Tubal Cain 81 

Work — A Song of Triumph 89 



332 PROGRAMS FOR SPECIAL OCCASIONS 

Columbus Day. PAGE 

Find a Way or Make It 145 

The Will and the Way • . . 162 

The Boy Columbus 303 

Election Day. 

Give Us Men 392 

The Makers of the Flag 394 

Armistice Day. 

When the Great Gray Ships Come In 109 

Promoted 169 

What He Learned 173 

Quick Service 239 

Junior Red Cross. 

Heroes 58 

Grace Darling 106 

The Magic of Kindness 163 

Fire Prevention. 

A Forest on Fire 26 

Boost Your Town 144 

Thanksgiving Day. 

Obed's Pumpkins 31 

A Hebrew Song of Thanksgiving 306 

A Good Time 307 

Christmas. 

Little Wolff and His Wooden Shoe 309 

Santa Claus 316 

The Unbroken Song 317 

New Year's Day. 

Golden Counsels 79 

A Psalm of Life 166 

Ring Out, Wild BeUs 31S 

Winter. 

The Race to the Valley 45 

New England Weather (line 6, page 246, to end) 246 

Skiing 247 



FIFTH YEAR 



333 



Lincoln's Birthday. PAGE 

The Soldier's Reprieve „ 320 

Washington's Birthday. 

In the Wilderness 326 

My Country 308 

Humane. 

Our Friend the Dog 265 

Eulogy on the Dog 271 

Jarro, the Wild Duck 284 

Thrift. 

The Four MacNicols 68 

To-day or To-morrow 84 

Out of the Wreck 112 

Solomon's Choice 168 

Spring. 

The Swarming of the Bees 253 

The Selfish Giant 332 

Arbor and Bird Day. 

Graywings 258 

Pomona's Best Gift 340 

Memorial Day. 

In Flanders Fields 304 

America's Answer . . 305 

Give Us Men 392 

Clean-Up Day. 

Boost Your Town 144 

What He Learned 173 

Wriggles 273 

Health Day. 

Wriggles 273 

A Big Project . 280 

Flag Day. 

Little Athens' Message ....'..-.-.. 388 

The Makers of the Flag 394 

The Star-Spangled Banner 397 



334 PROGRAMS FOR SPECIAL OCCASIONS 

Summer. PAGE 

Rain in Summer 251 

The Brook 262 

In Arden Forest . . . . . 359 

Independence Day. 

Independence Bell 381 

America 384 

I Am an American 385 

Sixth Year 
Autumn. 

'Tis the Last Rose of Summer 100 

The Corn Song 118 

The Kettle and the Cricket 286 

Labor Day. 

I Dig a Ditch 32 

A Word about Cotton 120 

The Fishermen 133 

Brothers of the World 139 

The Heritage 358 

Columbus Day. 

Columbus 177 

Opportunity 370 

Election Day. 

Letter to his Son 345 

The House by the Side of the Road 386 

Qualities of Good Citizenship 397 

Armistice Day. 

Yanks , 96 

The Battle of Blenheim 107 

Armistice Day 179 

The Man with his Hat in his Hand 373 



SIXTH YEAR 335 

junior Red Cross. PAGE 

Abou Ben Adhem 347 

The House by the Side of the Road 386 

Daily Service . . 390 

Qualities of Good Citizenship 397 

Thanksgiving Day. 

Mrs. November's Dinner Party 182 

A Thanksgiving 188 

Christmas. 

Christmas Eve in Norway 190 

Christmas in Merry England 193 

Moth and Rust 265 

New Year's Day. 

The Silver Ship . 196 

The Noble Nature 348 

Winter. 

Camping in the Winter Wilderness 20 

Chased by Wolves 64 

The Skating Match 331 

At Valley Forge 383 

Lincoln's Birthday. 

Pioneer Houses 148 

The American Pioneer 161 

Dedication of Gettysburg Cemetery 210 

Washington's Birthday. 

Washington's Birthday 201 

A Great Citizen 379 

At Valley Forge 383 

Thrift 

A True Hero . - . . 154 

Opportunity .' . . 370 



336 PROGRAMS FOR SPECIAL OCCASIONS 

Spring. p AGE 

June 16 

Fern Song 19 

Spring 24 

Maple Sugar 135 

Arbor Day. 

The Planting of the Apple Tree -203 

Trees 206 

Memorial Day. 

The Blue and the Gray 207 

The Fallen Heroes 209 

Dedication of Gettysburg Cemetery 210 

Flag Day. 

Flag o' my Land 212 

The Man with his Hat in his Hand 373 

A Creed of Americanism 392 

Summer. 

The Gladness of Nature 31 

I Know a Bank 34 

Three Summer Studies 35 

Life in the Woods 42 

Independence Day. 

A Tea Party '. . . . 158 

A Great Citizen 379 

At Valley Forge 383 

Concord Hymn 385 

" Breathes there the Man " 391 



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